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JimLucas

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    all kinds of music

    My main squeeze is the English -- in various sizes, but principally the standard treble, -- but I also play some Crane duet and anglo, and a wee bit on the MacCann duet, which I hope soon to devote more time to. I'll try my Jeffries duet and Chemnitzer once I get them into playing condition, but that may be a while.
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  1. I believe the serial number is from the period of missing ledgers, but I'd guess some time in the mid to late 1890s. I'm not seeing the "inscription" (insufficient resolution?), but on my own pinhole, the name "Æola" is stamp-engraved into the leather of the bellows end. (Ah, the advantages of a Danish keyboard. I believe that that compression of "Ae" into "Æ" was sometimes used by English printers "in the old days".)
  2. I should clarify. Eventually, you probably won't be duplicating most of what you do on each instrument. But that should be for reasons of how the music fits on each instrument, not because you're "confused" by the fact of having two instruments that look similar, though they feel very different under your hands. Practicing switching back and forth will -- I hope -- result in your brain connecting both instruments to the music, rather than to each other.
  3. Yes, they have... at least a few. That's a separate question. People differ. The fact that you have been successful at playing both anglo and English suggests to me that you can get used to switching between, but your current difficulty suggests that to do so, you should practice the switching itself. E.g., practice a tune on the one for 5-10-20 minutes, then the same tune on the other for a similar length of time, then back and forth again and again, switching to a different tune when the "current" one hits a learning plateau. And as with learning the tunes themselves, start slowly, then gradually increase speed as it becomes comfortable ("easy"?). Practice is important. Practice doesn't guarantee perfection, but perfection is virtually impossible without practice. Or, as expressed in one of my favorite quotes (origin unknown, at least to me): "An 'amateur' practices until he can get it right. A 'professional' practices until he cannot get it wrong."
  4. Funny, but not enough to get me to take up monster accordion.
  5. Looking forward to eventually hearing you play this on your English.
  6. And note that with checked luggage, you will not be present when they check it, so you'll have no opportunity to explain. Meanwhile, most airlines allow (or at least did, pre-pandemic) a separate small piece -- e.g., a camera or purse -- to be carried on, in addition to regular "carry on". My standard-sized concertinas (one at a time) have always been allowed under that rule. My bigger ones just don't fly. I never allow a concertina into the "hands" of a baggage handler.
  7. Concertinas are regularly shipped, often (nearly always?) by air, with no "accompanying" persons on the plane. I've never experienced or even heard of the sort of problem which seems to concern you. What's more, any pressure difference in a cargo hold can't be more than 1 atmosphere... the difference between the pressure at the Earth's surface and the vacuum of outer space. Although I haven't tried to measure it, I'm pretty sure that the pressure difference created by squeezing the bellows regularly exceeds that, even with air flowing through the reeds. So my take: It's a non-issue.
  8. Wow! That's even much larger than the pair that are nesting on my friend's farm in Sweden. (Sorry. No photos.)
  9. With the explosion of cicadas, you may have lots of bait, but the trout are almost certainly getting lots of hookless freebies.
  10. In your organization, it's "essential" to have inaccurate communication?
  11. This leaves me wondering who is the current "owner". Doug, is the BB owned outright by yourself? I'm wondering whether a possible option -- hopefully a temporary one -- could be for it to continue under current ownership while hiring a new manager who would have the right skills but not the wherewithal to buy it. I know that if I won the lottery (difficult, since I don't play), I would offer to buy the business if Doug could find an appropriate manager... a position for which I'm not suited.
  12. Someone built at least one more, since it was for sale in New York City in the early '70s. I have since regretted not buying it, but at the time I was looking for a standard English and the price ($200, if I recall correctly) was beyond my budget for such a curiosity. And unfortunately, I totally lost touch with the seller, who had been a student at Columbia University. The one I saw was definitely not the same one we're discussing here, as it didn't have as wide a range. But it, too, was labelled from Vienna. Oh yeah, I remember noting that it had reed pans and reeds like English-made concertinas, which at the time surprised me for anything made outside of England. I don't remember whether the reeds were clamped or riveted. That's one of the things I like about the Crane... and the English. Playing an octave jump never demands -- or even suggests -- having to use the same finger for both notes. (I guess the same could be said of the anglo.) It looks to have some interesting fingering patterns. I would certainly be interested in giving it a try. 8^)
  13. But where are you going to get the rest of the "musical wagon"?
  14. The "thumb" loops are clearly new. I suspect Stephen C. could tell us whether something similar was ever original design. My guess is that they're a modification by a user who didn't have the ability to replace the original thumb loops, though the metal hardware is there (but maybe not positioned properly). Note that Stephen's avatar, identified as the first concertina that Wheatstone sold, has the sort of thumb loops that we're used to. FWIW (and somewhat off topic) I have concertina that needs to have one thumb loop replaced, and currently in its place is only the long screw for holding the plate. Since I hold the concertina by gripping between thumb and little finger rather than hanging it from my thumbs, I've discovered that I can still play without the loop... even with the instrument suspended in the air. So if I had that one in my hands, I suspect I could play it unmodified, yet without using those "extra" loops.
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