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Everything posted by RogerT

  1. That's a bit harsh! The English concertina (and its cousin the Duet) used to be played in all sorts of musical contexts and was a recognised performance instrument (I am currently working on a Wheatstone Duet that was played in performances in the Royal Albert Hall in London, back in the day). Of course it (the Englis) is fully chromatic, with consistent fingering patterns in all keys, unlike the Anglo, which gets harder the further away from home keys you get. And probably the Anglo is a bit easier to play than an English. But I personally struggle with old recordings of concertina music, unless it’s from the folk genre. The English concertina is really a parlor instrument and doesn’t cut it when played along side a big band or orchestra, unlike, say, the Bandoneon, which when all’s said and done, is a big concertina, with octave reeds, for volume and timbre. And in the folk sessions i occasionally attend, you can’t really hear a concertina among the fiddles, guitars, mandolins. And if somebody has an accordion (i.e with 2 or more voices, designed to be heard and to stand out) then an English concertina is completely lost. Anglo players tend to knock out LH chords and make more of an impression, but the English doesn’t invite you to do that. Well, that’s what I think anyway...
  2. Theo ... 'if I left a valve while the Reed is sounding'.... do you mean left a valve off or a helper spring off?
  3. So, an elegant solution is to substitute the LH G row pull A for C#. This GA button is duplicated in the LH on the top C row button, so in fact you lose nothing, and with a tiny bit of practice you can play in D. I tried this on my lovely little Jones and the reed went straight in, with a little strip of card for packing, no mods required. If you play in the Bramich style you rarely use the pull A on the G row anyway, and if you need it, it is there on the C row. The position of the C# feels very natural, with a great D scale pull run across the rows, and a pull C#, E third on the LH, so for my money it’s a pretty neat little mod, easily reversed in a few minutes. You just need to find a reed of similar size and tuned properly.
  4. Actually I run a repair business so it’s my job. ?...but you didn’t know that.
  5. Murray is a working musician so he may well be out and about gigging. He also teaches PA at, for instance, Halsway in Somerset, UK, for the EFSDS.
  6. I recently restored a 38 key Chemnitzer. The bellows were generally ok, but I did patch a leak on one gusset with a thin piece of leather stuck on the inside, and I replaced the gasket with modern foam gasket strip. A couple of keys were off...reglued these with hide glue. Also added a felt buffer under the keys to improve the action. Some of the keys have an interesting leather pivot though they were all ok. Had I needed to I could have created new ones. I didn’t replace the pallet leathers, but this could have been done, by ungluing the pallets and regluing (with hide glue). This would also improved the general compression. The Reed plates come out easily but I carefully numbered them as I took them off. One reed block was a bit loose so I reglued that. I cleaned all the reeds and replaced all the valves - using leather accordion valves but many cut down to size. Three reeds were broken and I sent the reed plates to Harmonikas and they repaired (25eur each). Obviously you need to create a map of the pitches so you know what to ask for. Then I tuned (I pretuned some before valving). The difficulty is getting the octaves in tune, so it involves quite a lot of fiddling about for fine tuning. My aim was to get it into a playable condition, which I managed to achieve. As an approach, get the compression up to scratch, and the keys working well, before turning attention to reeds etc. Pointless wasting time on reeds if the thing doesn’t hold air or the keys aren’t functioning.
  7. Having observed how sensitive the valves on a concertina need to be (by working the reed pan on a tuning table where I can see the behaviour) those springs must really hamper how it plays. Even valves made from proper accordion reed leather can be too stiff, which is why (I’ve concluded) you need the purpose made ones.
  8. Another thought on this... The G/A button in the middle of the G row is duplicated in the top button on the C row. Substituting the G row pull A for C# would work quite well. I very rarely use the G row G/A button. Also on the pull, A (from the C row) and C# gives a nice Amaj 3rd. The size of the A reed slot isn’t a million miles from C#. And I’ll still have a Gmaj chord on the push.
  9. Thanks Chris. ... I may end up trying both options :)
  10. Perhaps I should ask a different question....has anyone else tried this modification?
  11. Hi Can anyone point me to a thread discussing replacing a reed in a 20 button CG Anglo with C#? I’ve spent a fair bit of time looking on here but I've not located a thread, if there is one. I’m not proposing adding a new button. On my Jones there is a pull D in both left hand rows, so I’m thinking the G row pull D (the lowest G row button) could be substituted with a C#...except the reed will be quite a a bit smaller, so I’d need find a way to make it fit. At a push I could just flatten the D to C#. Not sure how noticeable/annoying the lower octave would be. It’s usefullness might outweigh this. it seems to me I’m only gaining because I can use the C row pull D when I need one.
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