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wunks

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Posts posted by wunks

  1. 57 minutes ago, Everett said:

    I am sure my repair tech is well aware of all the pitfalls and will do a great job retuning my 1927 Wheatstone.  I find the "shop talk" to be quite interesting. It gives me a greater appreciation of the skills of every master technician in every trade.

     

    I agree and I'm sure we'll both attain excellent results for our instruments for having this information.

  2. Thanks for the in depth discussion.  Very helpful towards making a complex decision.  My Jeff duet is in old pitch (close to a semitone sharp).  I could go down to C core or up to D core or keep it as is.  Neither re-tune would be easy because of the large interval and the fact that the low 5 or 6 reeds are already heavily weighted.  I've had a suggestion of moving (some) reeds around or having a new reed pan and reeds built.  In any event I'll end up with 2 instruments ( I have a Wheatstone JD C core) at considerable expense.  On a hunch I recently purchased the set of Shakespeare ends offered for sale here( Thanx Sergio!) and Yes! the button pattern matches Jeff duet so now I'm leaning toward spending the money on a new/old build (using as many spares as I can find).  Hopefully I'll end up with 3 boxes for the money....😃1737686167_IMG_20190225_121019(1).thumb.jpg.7f8c189748f3e03f43644416a4fa2b97.jpg

  3. 6 hours ago, d.elliott said:

    Its about the ratio of the tip section and the strength of the belly of the reed, if you file the belly of the reed leaving the tip un touched the the belly is weaker and the pitch drops, The term is flexural rigidity. I guess you are talking about reinforcing the reed belly, it's working area some how. what ever you use would have to be in its self springy, at the same level as the reed steel and work homogeneously with the reed. 

    I'm visualizing the helper springs on my "92 Jeep....😊

  4. 3 hours ago, Richard Mellish said:

    Taking away material near the fixed end of a reed is of course the usual method of lowering the pitch, but it is irreversible. Where's the harm in adding a tiny dab of removable material near the tip? Something like superglue would be easier to remove than solder, and also lower density, so more amenable to fine adjustment.

    You've mentioned this in some other posts and looking to either raise or lower my Jeff duet an approximate semi-tone  it seems like a good alternative to solder/scratch even if non traditional.  The idea deserves it's own thread but a quick question;  does adding material at the base of the reed raise the pitch?

  5. 2 hours ago, MJGray said:

     

     

    I like the button numbering that Gary Coover uses, if only because it's consistent with that found in the historical tutors, but encoding 3 variables (hand, button, direction) in a single value is always going to be kind of a tricky problem, especially if you're limited in your typesetting technology. The historical tutors wouldn't have been able to get special type cast, most likely, and many of us would like to have ASCII / text-only representations. Gary's line above to indicate a pull, for example, is difficult to reproduce digitally with common software.

    Not an anglo player or a dots reader but just a thought...... would using a color (ala Nick Robertshaw's Jeff duet diagrams) with the texts for say bellows direction help?

  6. Very interesting.  I wonder where that shared pattern originated?  Hopefully I'll "end"up with it!  I'm waiting for more pics and will certainly post them.  Thank you both....😃

  7. 50 minutes ago, fiddler2007 said:

     

     

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    Tip i learned years a go: do something else at the same time while practicing like watching football, telling a joke, what ever.

     

     

    Or just close your eyes; amazing how your fingers can find the "right" notes without them!

  8. Does anyone recognize this fret pattern or even this particular instrument?  There is some confusion coming from the seller as to the maker.  Supposedly Lachenal and the 4 fold dark green bellows with the standard papers seem to support this.  I can't seem to get a pic of the other end so this might be a home made replacement although it seems nicely done and pleasing if simple.  Seller says mahogany but it looks like walnut or maybe rough rosewood to me.  German?  One can see the pads,springs and radial layout through the ends.  If I hear back from them I can provide more detail.  Thanx.

    644782940.jpg

  9. I don't know what actual condition you have but there are other treatments.  Assuming you've tried several there is a relatively new over the counter topical gel for arthritis pain containing 1% diclofenac sodium (what ever the heck that is).  I don't know if it's available where you are and I'd ask your doctor first.

  10. 5 hours ago, Piyush Sachdeva said:

     

    I wasn’t familiar with the Jeffries but i used the following for my reference :

     

    https://www.concertina.info/tina.faq/images/finger2.htm

     

    Comparing it with the Hayden it does seem a bit more complicated because of how the notes are placed on the buttons. But i guess once you start playing something new,it takes a while before you get the hang of it. 

     

    I was concerned about being able to play accompaniment. Thank you for pointing out that it has a a lot of flexibility in that area. 

     

    It may be worth noting that the 50 button "C" core JD extends down chromatically to the low Viola C with an added low G (I have one with an added B and Bb).

  11. 5 hours ago, RAc said:

    ok, if I understand you correctly, you confirm my statement here that there are almost no moveable chord patterns on the Jeffries but each chord pattern is a different triad inversion? By moveable I mean that (first approximation) the same order of fingers can be shifted by rows and/or columns yielding an identical chord. This is taken to extremes by the Hayden layout where there is exactly one triangular (three finger) pattern for each minor and major triad that never changes, but which chord actually sounds depends on where the root note sits. On the Crane, this is similar, but moving the chord a row up typically involves changing one finger.

    I think that's right.  It's like playing a chord progression in first position on a tenor guitar as opposed to barring up or down the neck with, say, a barred E chord.

  12. RAc,  I'll clarify my post also. 

     

    #1 Outside the home key at either end of the two middle rows, things get a bit wonky with the sequence changing to a more linear layout for the L/H low notes, while the overlap zone is like having 2 mini mirror image EC's, then, at the high end it's back to a liner mode.

    #3 This is hard to pin down but valuable info for the OP I hope.  On the Jeff duet there are many opportunities for 3 note chords on the L/H using 3 or less fingers that invite dropping a resting finger (or the thumb) on a desired low note (or melody note if playing in the middle of the box).  This three note trick is a set of easy fingerings repeatable in any key (that I've explored) but never in the same place in every key!  So if you play a tune in one key your fingerings, voicing and ornamentation will be different in another.  I like that.

  13. Sorry RAc, You posted while I was writing.  

    Comments, but not criticisms on your #

     

    1.  Jeffries is similar for the home key but zigzag on the middle 2 rows across the fan shaped pattern with sharps and flats above (for the most part) and low notes below.

    2.  I consider left/right, accompaniment/melody to be an option rather than a mandate due to the overlap and chromatic nature.  

    3.  There are some repeating chord patterns on the JD but like a guitar you can form chords other than barring.

  14. As a duet player (Jeffries) I would add that while the "home key" is easy (C for my Box) so are F, G, Bb, A minor D minor and several sharp keys.  In fact, I don't find any particular note combinations very difficult especially if you're used to the contortions involved in playing the guitar.  Additionally the overlap twixt LH and RH solves many difficulties.  A further advantage of duet is with voicing potential.  You can use a lot of bellows work but you don't have to and you can chord and counterpoint, drone, slur, punch and/or linger at will.  The different types of duet will have their own advantages.

  15. The time line eludes me but I was playing guitar a bit pre-Woodstock (I attended but awoke in the mud and drizzle, then got the hell out of there.  For me It was the end of an era of small folk clubs Like the Blues Bag in Provencetown, The Village Gate in NY and Cafe' Lena in Saratoga, still alive 😃).  I played a few gigs but never warmed to the audiance/performer thing.  I got inspired by the Quebeqois fiddle style and was introduced to Contra Dance in the early 70's.  I hitchhiked around Europe etc. and stopped in Crabb's Shop in Islington to see about an EC.  (I believe my first exposure was to the playing of Louis Killen and John Robert's but there may have been others!).  EC's were way too dear in Crabb's but (Neville I believe, although the bill of sale is signed by Geoffry) mused that it didn't matter which system If I was just starting out and promptly trotted out a rather large Wheatstone Jeff duet!  The bill of sale reads 30 pounds sterling.  I acquired a second JD shortly after getting back to the states and they both went into the closet for 50 years while I happily sawed away on the fiddle for dances.  I got so I wasn't practicing or learning anything new and my intonation was starting to slip.  I opened them up a little over three years ago.  Pandora never infiltrated these boxes!  Thanx to all who helped us😊 along.

     

    Peace, Health and Harmony

     

    Erik

  16. Do you mean the surgical procedure ?  Many of us play with sore wrists from one condition or another.  For me it's a mild low stress exercise that's beneficial in keeping my wrists limber.

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