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Posts posted by RogerT

  1. It might be worth getting the action on your Lachenal checked…and also work out what is not right about it (while you go a looking for that ideal 'tina…my advice…try first, so attend events where you can do this). My Lachenal 32 was truly awful…had terrible action …but I have made it pretty fast and playable with a *lot* of work…like bushing, adjusting spring tension, lowering buttons, fix spongy feel by sorting any tiny air leaks,  checking valve behaviour, checking and fixing reed response…that sort of thing. It can make a lot of difference to its playability.

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  2. Assuming it's a standard CG 'tina…

    1) get the standard layout for a CG anglo tina (somewhere on here or search Google.

    2) work out where those reed blocks go

    3) map buttons to the holes and therefore the block/reed chamber position

    4) result should be what you are looking for.

    5) if you have the reeds, ping them to work out the push/pull pitches

    6) this should then enable you to match the reeds to the blocks.

  3. I wasn't really asking for a diagnosis of the issues…yes there is a crack…i was just showing how it's possible to put the action box on so you see it working and diagnose all the issues, not necessarily a technique to everyone’s liking but all the same v useful on occasion. Yes I know about using a bright light etc and I don't always do it this way….I repair concertinas professionally so I've got a good grasp of how to go about it. It's really no extra effort to do this.

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  4. I use modern PVA wood glue, which sets pretty hard. Any glue that doesn’t set hard is a problem because you don't want the pad to move on the end of the arm. Removing and re-gluing pads may or may not be made more difficult by this choice of glue, but for the repair in hand it works well and in any case I make my own pads so replacing them isn't an issue. So I guess it's a repairer's choice. I've tried quite a few different glues and this works for me.

  5. This guy seems to be under-followed. This is a great (free) instructional Anglo video. Marvellous stuff, if you want a compacted walk through of ornamentation. So many vids are aimed at the complete beginner, whereas this is definitely in the intermediate phase.


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  6. I would check the valves. I keep encountering the following problem: someone has cleaned and revalved a concertina (and an unsuspecting buyer has got hold of it in a 'restored' condition) but fixed valves that are too thick and or has glued too much of them so the valve is restricted…but they obviously never checked the result of their work. And the smallest tweak can alter the behaviour of the reed, taking it from dull to bright. Sometimes just flexing the valve up and down/back and forth can fix the issue. Or I replace the valve, taking care just to glue the very end of it and not half of it. Leather accordion valves work ok..the funny shape is just so they fit in the tapered chamber. If you have a way to get the reed pan out and lay it flat on some tuning bellows, block the chamber end and you can then observe the reed working and play around with the valve. The other problem is that the cleaned reed (all lovely and shiny) hasn't been 'voiced'…in other words the gap has been set correctly, or of the reed has been distorted by cleaning, the shape and set haven't been optimised. Or the reed is loose in it's slot. All of these things can be dealt with on the tuning bellows. If it sounds good on the tuning bellows but dull in the instrument, then it's an air issue…the pan isn't sitting flat against the action box or some other problem. 

  7. To soften them up I sometimes pull them off, soften by manipulating them (rolling up in both directions, gently scraping with a metal blade etc) an d then glue back on. It's quite difficult to get at the valves inside the chamber and only takes a moment to pull off and refit. Or I pull off and glue on a new one. However, this can alter the tuning and alter the reed behaviour if the valve doesn’t open properly or lets in less air etc…so beware. Normally I fit valves before any tuning for this reason.

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  8. 46 minutes ago, Peter Laban said:

    The fact these last few posts attempt to lay the blame at the EU's door

    It’s a bit of a stretch to read that from my posts (if that’s what you were saying). And anyway I'm a big fan of the EU.  I’m merely pointing out that there seems to be more friction getting stuff from the UK to the EU than the other way around. You can speculate on the reasons for that. I don’t think it applies to trade between the UK and EIRE AFAICT.

  9. 3 hours ago, Peter Laban said:



    That statement is just plain silly.

    I could qualify it and say that the EU have less incentive to make smooth and easy importation work well by small companies and individuals from non EU countries (because most of their trade is driven by geopolitical boundaries …the EU…which incidentally I think is a brilliant thing). And anecdotally this seems to be the case. But it may also be silly. Thanks for pointing it out.

  10. Anecdotally, it seems Brit import processes generally work ok these days, because that’s one of the things that had to be sorted post Brexit. But working the other way around, where the receiving country is in the EU, it often either doesn’t work at all or is slow and expensive. I assume this is because *all* imports to the UK have to be processed through customs, whereas EU countries have no interest in having working and efficient processes from non EU countries.

  11. Mostly you can't, because the reed pan sits in a particular place in the end of the bellows (it's normally marked so you always put the reed pan back into the bellows frame in the correct orientation), so the only thing you can rotate is the ends, but if you do that the buttons/air holes etc won't line up with the reed pan. 

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