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Everything posted by JimLucas

  1. Apologies to everyone for not getting this posted sooner, since if the SSI were happening, it would be at the end of this month. Over the past several months, my attention has been repeatedly hijacked by problems both technical and personal, and posting the "cancellation" slipped through the cracks. But I hope that you had guessed that without an announcement that it was happening, it probably wasn't. I had decided some time ago that with the recurring uncertainties regarding covid, I would not be willing to gamble on bringing people together. And although Sweden and Denmark (the nearest airport) are both officially "open", that decision has been validated by recent personal experience. I myself had the virus in early February, thankfully a mild case. But just within the last few weeks, five friends in Sweden were infected, and not as a group. And we were all fully vaccinated. Yes, it's still spreading. I had hoped that I could set up some individual small Zoom events during the past year, but those other issues prevented that. I still have hopes that I might be able to do something like that between now and April 2023, though there's no guarantee. However, if I do manage to get anything organized, I'll be sure to announce it here. Meanwhile, best wishes to all.
  2. 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".)
  3. 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.
  4. 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."
  5. Funny, but not enough to get me to take up monster accordion.
  6. Looking forward to eventually hearing you play this on your English.
  7. 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.
  8. 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.
  9. Wow! That's even much larger than the pair that are nesting on my friend's farm in Sweden. (Sorry. No photos.)
  10. With the explosion of cicadas, you may have lots of bait, but the trout are almost certainly getting lots of hookless freebies.
  11. In your organization, it's "essential" to have inaccurate communication?
  12. 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.
  13. 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^)
  14. But where are you going to get the rest of the "musical wagon"?
  15. 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.
  16. Years ago I met a fellow in New York state who only had the use of one hand, and he played a German "anglo" with the left-hand end closed off and strapped around his thigh. He used it mainly for song accompaniment and did a good show. Alas, I don't remember his name.
  17. Likewise with mine, neither my G-bass nor my "ordinary" bass. And if either was for sale, there are already queues at least a dozen long for each... and have been for decades. Good luck to you, though.
  18. Correct me if I'm wrong, Robert, but if I remember correctly, that's not a G-bass, but a "contrabass", i.e., an octave lower than a standard "bass", going down to the C below a G-bass. But also with a very limited range... an octave, or slightly more? My guess is that it was custom-made for a stage act. And strictly for the sake of appearance, since it's much larger than necessary for what it is musically. More for fun than for music, I'd say, though maybe one could fit a mast and sail to it. 8^D
  19. Or not... at least not as planned. It turns out that we we just don't have the resources to run a Zoom program spanning the whole weekend. But I'm now hoping that we can produce a series of much smaller events -- workshops, sessions, maybe even concerts -- which will not only be more appropriate to our capabilities but also more suitable to participation by folks in radically differing time zones. Please see our web site -- http://www.nonce.dk/SSI/ -- for much more information. (Now I'll go edit the first post in this thread, then send personal emails to all those who have already responded to the earlier announcement. And I'll be soliciting ideas for what folks might want to see.)
  20. Yeah, that's the type I was asking about. And if you've never seen one, I doubt that anybody has. 8^)
  21. I think I've seen those from Italy (or Germany?), but did any of the English makers do that?
  22. Are there any records of performers noted for playing on such a concertina?
  23. It worked fine for me, and it showed rows up to 11 buttons wide. Even with the loop-and-strap way of holding it, I'm not sure I could reach the edges, especially with my rather short little fingers. Leaves me wondering about the length(s) of Emmanuel Pariselle's fingers. (And Colin Dipper's, since I know that he also plays the franglo.)
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