Rod Pearce

David, Alex Happy New Year to you both, and thank you for your replies. The leather on order is 0.9 mm as it was the thinner of two skins on the website, I realised this was probably too thick, but wasn't sure what I should be aiming for. I will need to practice my skiving skills, by the sound of it! Should keep me busy for a while. In the meantime I can start assembling the card (as per the Tedrow method) as the gummed tape has just arrived. Regards Rod

I believe you are referring to the 'Top run' leather. The wider strip of leather around each end is the 'End run'. The glue to use is personal preference. I have used PVA glue to fix these without any problems. Just put a little under the area of leather that is leaking. Smooth it down with your fingers to make it lie flat and expel surplus glue, just as you would for the gussets and hinges. Remove any surplus glue with a damp (not wet) cloth and leave it to dry. If you intend doing more work on your concertina, I suggest you invest in Dave Elliott's Concertina Maintenance Manual. Rod

OK, I'll work with that when the leather arrives. Thanks for your help. Rod

Thanks Alex. Can I assume this applies to all the leather components? Rod

I am having my first go at making a bellows for an Anglo concertina. I have tried to repair leaks in the existing one several times but just keep finding more. It seems too far gone. I have gathered most of the materials, cut the card and built a jig for the assembly. The only thing I am short of at the moment is the leather, and am planning to use black goatskin from Pittards. I have lined up a 0.9mm skin. I have been trying to get an idea of the thickness of leather needed for the various leather components ( gusset, top run, end run, valleys) but all I can find is a lot of references to the edges needing to be skived to 0.01mm. Can anyone advise what the thickness of the body leather for each of the components should be? Thanks Rod

Latest notice on Mark's website Feeling Better Thanks for the kind words I have had from people I am on the mend but it has been slow I imagined just changing my diet and being back to normal, but it is not so. I will be reopen properly after christmas (4th Jan) If anyone is in need please email and I will do my best Thanks Mark

Back to question 1 - Are you saying that the instrument is airtight (no leaks) if you do not press any keys but try to operate the bellows?

Have you checked the bellows for leaks?

Daniel, thank you for your input. I have a small collection of 20 key and 48 key instruments that I have restored over the last few years, Lachenal and Wheatstone.. The 'Campbells' Lachenal I am currently learning on actually came from Chris Algar about 18 months ago. I bought it as needing the pads and valves replacing, and one of the ends was badly damaged. I made a new end for it, updated the internals, polished and tuned it. I am very happy with the result and I think it is the best player (before and after pictures attached). I did contact Chris earlier this year with regard to a 30 key for restoration but at the time he had none available. I will probably refresh my interest and see what develops.

Ken, Wolf, Dave Thank you all for your replies, very helpful. Best regards Rod

I am on the lookout for a 30 key anglo that I can restore, with the intention of keeping it as a progression from my existing 20 key (Lachenal, badged as Campbell's Glasgow). I do not want to pay more than £400 to £500 for the instrument before renovation as I am still in the early stages of learning, but would naturally like to get as good a quality as I can. AS EBAY is the likely source for me, seeing / playing the instrument before buying is probably not an option. Are there any rules of thumb that would indicate overall quality. All I have to go on at the moment is price, look (eg fretwork) and makers name. For example, - is the complexity of fretwork pattern and indicator of quality? - are the reeds better in more expensive instruments? - ditto action? I would be grateful for any thoughts. Rod

Dave Thanks for your advice. I have decided not to risk it and have agreed with the seller to return the instrument. I am really disappointed because I was looking forward to getting to grips with my first 30 key anglo

Dowright Because of the issues I deceided to return the instrument, but took photographs beforehand. The number in the Action box bezel is 149241 Right hand reed pan is 188108 Left hand reed pan is 198854

I have just purchased an instrument described as a Lachenal 30 key Anglo as a keeper for myself, fully expecting it to require some work. On opening it up I find that the reed pans each contain 16 reeds , but there are only 15 buttons per side (excluding the air button). Both have different numbers stamped on them.and both are different to the number in the action box bezel. So, parts from 3 different instruments. There is also an inscription inside saying the instrument has been repitched to B flat.from C. I want the instrument to be in C, so will have to retune it. All components do seem to be in good condition, except for wear and tear. eg it needs new pads, valves Should I be concerned, or just go ahead with the renovation?

Is it not possible to take a photograph of the reed slot from the end of the pan, blow it up and print that? You could also blow up the angle as you suggest.

Frank, Theo I have checked the fit of the reeds and they are all tight. However I did notice as I removed the reed pan that the inside chamois had become flattened and hardened with age. I roughed this up a little and re-closed the instrument. Hey presto! The breathiness has disappeared and the reeds in question are much louder and more responsive. The whole instrument feels much tighter. Next step is to repeat on the remaining chamois. Thanks again for your invaluable advice. Regards Rod

Frank Thank you for your response. I'll check it over and see if any of this applies. Regards Rod

I have a 20 key Anglo that I have recently restored and tuned, but I am now having trouble with 3 reeds on the left hand side that are breathy, causing them to sound quieter that the rest and a lot of bellows travel. The reeds are steel. Several times I have adjusted the reeds and the breathiness reduces but it comes back after playing the instrument for 15 mins or so (I say playing, but as a beginner I really mean attempting to play). The worst case is note C (3rd finger, push). Can anyone offer any advice on how I can sort the problem? Thanks in anticipation. Rod

No problem Bill. Glad to be of assistance. Best regards Rod

Bill have made 2 sets of straps from the kit, and still have the CD with the instructions on. I can send you the files by PM later. There a 4 files on the CD, the larget being 9mb. Rod

RAc I made the suggestion of using a chromatic tuner as Larry's original post was referring to a tone generator, which would have required a very good ear to tune the suspect reed. He was also only concerned with a single reed, not a complete re-tune. The suggestion was made in good faith.

Try downloading some free chromatic tuning software (AP Tuner for example). This will enable you to accurately check the pitch of the note as you make adjustments. I have cut and pasted the display screen from the help pages. The idea is to get the needle to 0 for the note in question, in your case D#. Just google AP tuner, the download is available at a number of sites.

Hi Alec You say it is a new concertina. Is it new, or just new to you. If it is new then Wolf's reply about older valves would not apply.

If you need replacements try Mark LLoyd-Adey at Concertina-=Spares.com

Theo Thank you. I'll try this approach. Rod☺️