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Everything posted by Tiposx

  1. Mine was inspired by Alex, but looks different. I clamp the foot of the spring against the allen bolt, clamp the long/loose end of the wire to my workbench and then wind the wire around the post. The T bar fits over the post and has a notch to help the wire around, and keep the coils tight and neat. You can do this job without the T bar. The main thing is to keep the tension up as you wind. The bends are put in with long nose pliers against a hard surface to bend the wire. I use .6mm ss spring wire. I use Evek in Germany via their website. I have bought from them several times including recently and the goods arrive here in the uk within a couple of days.
  2. The brass ones can also corrode unseen at the right angle where they enter the action board. They can be difficult to remove without snapping at that point. The stubs can be a problem to remove. My view is that the pioneers used the best material available to them at the time. If stainless steel had existed back then they would probably have used it.
  3. I place the spring end into the retaining hole, then manipulate the rest of the spring under/ onto the lever with the notched tool. The spring “never” pings off if you maintain a little tension. It takes about a minute to file the notch with a triangular needle file, it is worth trying out. You can still use the screwdriver as such if needed!
  4. I cut a notch in a small screwdriver, works perfectly. I tend to replace all the springs with stainless steel, they are easily made and tuned to the desired tension, but some people don't approve.
  5. All the music I play (itm) falls within the range of the Albion, and of course the Geordie an octave lower. I can’t say for sure if the bigger size of my Baritone helps the lower notes, but it seems logical. The bigger size is really not an issue to me, it feels just right and sounds right somehow. It will be very interesting to hear about your comparison and your conclusions Jim.
  6. I have machined buttons from both delrin/ acetal and t6 aluminium successfully. The delrin takes a bit of practice to avoid it bending away from the tool. I use a collet chuck, polished carbide inserts, and a single cut for the peg and the button itself (if a cut is needed). It takes a few test cuts to get the measurements just right. The aluminium is pretty easy to machine using the same tooling, but lighter cuts can be used as it doesn’t, bend away from the tool excessively. It polishes up very nicely with grey scotchbrite followed by brasso on a cloth. I made a jig to make the through holes. Alex Holden has some really good info on his blog on making buttons on a small lathe - I used his methods.
  7. My Geordie Baritone is a young one - I bought it new in Feb 2021. My only mild criticism is the slightly stiff bellows. I will eventually get around to making a more flexible set of 7 folds, which I understand was an option. It doesn’t “need” them, but it would be nice. I should mention though that one of my gifted concertina playing friends can make it work really well - chords, sustained bass notes etc and he thinks the standard bellows are fine.
  8. I can’t compare the two, but I have a MG baritone. It is slower on the low notes than it is on the higher notes. I think that is just physics though. There is no difference in speed note-for-note between it and my MA treble except that the standard baritone bellows are a little bit stiff and that the treble has slightly weaker springs and is a good bit lighter. I can play either standing up though. On the baritone I can keep up with my friends playing itm in their different octave, but technique needs to be good. Tippy tappy rather than pushing/ holding the button to its maximum, that is good technique for itm anyway, and the tone seems better. Tiposx
  9. Flatten then drill the bottom of the button, then insert the wire (or something light e.g. plastic) would be a sympathetic repair. You might not need glue if the fit is good. Over here you could buy some old buttons, not sure about S.A. Finding the correct size is a pain though. Those pegs are very important for a smooth action.
  10. It is a crying shame that the bugs and the rust have taken such a chunk out of it. It would be a fair and daunting project for a hobby restoration, but as has already been said, it is not financially worth paying for the work. Depending on the success of reed repairs it might not sound very good either. Should you go ahead with it anyway (I would, but it is my hobby) then you would best go for 7 fold bellows. 5 are very limiting on an Anglo. Good luck
  11. I have a Morse English system baritone, which is laid out like a standard treble but sounds an octave lower. I play Irish music with friends or alone. It can be played at the speed required, and adds richness to the group sound. I like to play it to give my ears a rest from the treble range sometimes.
  12. Received - A very interesting read for my autumn holiday.
  13. If it plays as well as the Geordie english system baritone you will enjoy it I think.
  14. I can report that it is getting easier. I am using a jig tune that I can play fluently on the ec to ease myself back into that system each session. The problem doesn’t show when I start to play the Anglo, as it is so new to me. Further to some other posts about playing different instruments, I don’t have issues when moving between melodeon and piano accordion, just the concertina systems. I can see a way forward now though, now my initial worries have eased. Cheers Tiposx
  15. Thanks everyone who has replied. I am interested in the Jim Lucas suggestion of practicing the switching of instruments and of playing the same tune on both systems. I was deliberately avoiding this, but I will try it as I can’t really spoil anything at this stage. I always practice slowly at first until I can play without mistakes, (well for the most part) so no worries there. Cheers Tiposx
  16. Hi I wonder if anyone would share their experience of playing both systems. I have been playing Itm on English concertinas for a couple or so years. I have recently bought a 22 button Anglo and spent a few days getting used to it and learning a tune or two. I have only attempted tunes that I haven’t played before. This was challenging and I enjoyed it, but then it was time to practice on the English again. To my horror I couldn’t get a tune out - the rows were in the wrong place, and one of the thumb loops had crept forward by a few buttons. It took me quite a while to readjust my finger positions, and even after that I seem to have forgotten how some of my tunes started. It feels like I have gone backwards. I am on holiday for a few days now and won’t be playing any instrument, but have time to mull it over. So I am a little worried now - has anyone else on the forum made a success of it? Will I get used to it eventually? I have a friend who plays Anglo, English and two kinds of duet concertinas successfully, but he is what I call a “proper” musician.
  17. I received my 22 button Duckling this week. I am already an ec player but I like a challenge. I intend learn some new Irish tunes with the help of Gary Coover’s book to get me started. I was attracted to the Duckling because of the design, particularly the mechanism. I think it is very clever in giving a conventional piston type action to the buttons. This has always been my issue with Scholer ‘tinas and the like. The buttons on them move through a tight arc, which doesn’t suit me. I have worked on several of these and found the playing experience pretty poor. As a hobbyist maker of traditional bellows I am also very impressed with the Duckling plastic bellows. I was quite sceptical but in practice they work very well and hold air without leaks. The whole instrument has a feeling of good design, engineering and construction. My first ‘tina was a restored Lachenal 22 button Anglo, which was over 3 times the price of the Duckling. It was very hard work and I got rid pretty quick, then went down the ec route. The Duckling is so much better. It is just amazing value at little more than the cost of a (very) good case! It took Paul 7 months to make to my specification, and I feel very privileged to own this custom built instrument. I am pretty sure that it is the best learner/ beginner Anglo available. ps after two evenings I can just about plod through my first tune. Thanks again to Paul Harvey of Vegan Concertinas Tiposx
  18. I am eagerly awaiting delivery of my new 22 button duckling, possibly next week (no pressure Paul…) I am even more excited now! Great review and playing by Cohen Regards Tiposx (aka Michael)
  19. Hi Bob Delrin is often used as a bearing material against metal, without any lube except perhaps for water. So I would look for the stickiness somewhere further inside - I would regard the sticking button as a symptom of something else. Regards T
  20. I came across an original Wheatstone that smelled terribly of cigarettes but also made the player gasp and cough. It was as if they were infected somehow. We tried deodorising, airing and so on, but eventually new bellows were required. This completely fixed the problem. I put old bellows in my draughty garage for some reason, and after a week it was stinking the space so much that they had to go in the bin. The bellows appeared to be “nicotine stained” inside but a few of the cards had started to soften, which could have been another source of the stink.
  21. Really nice work. I would like to make one, but haven’t thought of a good design. The 9mm thickness of yours may be the key - I was looking at 5mm or so. A few questions - how did you make the lip; what joints did you use; and did you make the lid separately or did you cut it off the larger box. Many thanks Tiposx
  22. It sounds as good as it looks.
  23. Papawemba has a nice Jones for sale in the buys/wants section complete with videos. He has mentioned how he loves the tone several times in the last few years.
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