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Dave Leggett

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About Dave Leggett

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    Male
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    Amateur traditional concertina maker 10 years. Anglo player. Dabbled in other systems.
  • Location
    Cadgwith, Helston, Cornwall, England

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  1. Follow-on Layout diagram for Edeophone duet no. 4366. Dave
  2. This is a 60-key metal-ended 12-sided Edeophone with 8-fold black all-leather bellows, ca. 8" dia. The serial no. is 4366, which I guess probably places it somewhere around the 'Edwardian' era. It's in modern pitch and good playing order. The instrument was protected in its original case for most of its life until that case was so tattered that I replaced it with a good new one. For this reason, the general condition is exceptionally good, with little wear to the bellows. The Edeophone represents Lachenal's very tip-top of reed-work and craftsmanship, equal to that of the best makers. It'
  3. Hello 'fatman' and Chris, The reference to the free reed acoustics paper (and the references that come with that) are informative on far-eastern free-reed instruments, but still lack detailed reed constructional information. That they do 'sound both ways' is beyond dispute, the development work all having been done a few thousand years back! They do seem to have rather large gaps between the reed and frame, which perhaps comes about from both being cut integral from the same blank of material. This may contribute to the explanation of why they work? Rich soil for someone of an e
  4. Talking about reeded pipes, I think there's probably some mileage in exploring the Chinese SHENG in this context. A very ancient invention, examples of this free-reeded 'piped mouthorgan' instrument when first brought to Europe in the 17/18th century apparently inspired the first harmonica, concertina and accordion inventions! SHENG reeds somehow manage to sound either on the 'suck' or the 'blow' - clever stuff - but I've never been close enough to one in order to see how. Obviously there's major untapped potential here! Information on 'the net' is rather sparse, but there's quite a
  5. Thanks for comments, Halifax and Richard. I think that an ordinary pipe, rather than a reeded one (as in bagpipes of various kinds) needs far more air than a small underarm bellows could provide. Also using two hands and armpit power might make you feel a little like a one-man-band? You seem now to have grasped the principle of the double-acting bellows. Yes, valves and a L-R air duct transfer air from the LHS of the cylinder to the 'wind chest' & pallets when the piston is pulled to the left. I guess that on a full-sized organ, where large bellows probably supply twice as
  6. Hello Folks and thanks for your interest and enthusiasm! The very essence of this piston-bellows, Tom, is that it delivers air to the pipes in both travels of the piston. Find a video of a traditional Japanese swordsmith at work, if you want to know where the idea came from: I expect there are a few of these on you-tube! The gap around the buttons is only sealed by a gasket of shammy-leather pierced with close-fitting button-sized holes - it does need improvement! Regarding 'sound files', I'm sorry but I wouldn't know where to start and anyhow, I lost the facility to finger a Mc
  7. Some years ago, I constructed a rather unusual instrument combining some features familiar to concertina players, but using small organ pipes rather than free-reeds as sound generators. I suppose you could call this a portative organ. It suffers from the limitations of such, in that one hand must be occupied in pumping bellows, allowing one hand only to pick out the melody and/or chords on the keyboard. Possibly, a unique feature of this instrument is that the 'bellows' is an air-pump, devised on the same principle as a Japanese smith's type bellows, that using flap-valves, produces a use
  8. Hello again Suguaro Squeezer. (sorry, don't know your name!) and thanks for your reply.

    Have been to village Post Office this morn and determined that price inclusive of postage to USA would be £7-00. Will be passing my bank tomorrow and will collect details I need from them to receive IBAN payments. I will, as you say, need your postal address.

    Thanks,   Dave

    1. Show previous comments  1 more
    2. Dave Leggett

      Dave Leggett

      Thanks Rod.

      Will be in touch again within a couple of days.

      Cheers,       Dave

    3. Dave Leggett

      Dave Leggett

      Hello again Rod.

      A copy of 'Ditty Box' is in today's post to you and should be with you in about one week (I was told!). I hope it gives you a few chuckles! The inclusive price is, as discussed £7.00 and I'd be grateful if you'd do the IBAN to my account:

      GB72 BUKB 2067 1940 6416 77

      Thanks and regards,    Dave 

    4. saguaro_squeezer

      saguaro_squeezer

      Transfer on its way, Dave.  Thank you very much.  I'm looking forward to it.

      Kind regards,

      Rod

  9. Hello Saguaro-Squeezer and thanks for your message. The answer is 'Yes', but I haven't investigated means of doing this. I'm a bit old-fashioned when it comes to computer banking and divulging account details etc. etc. I'm not at all versed in such things as small international payments and I'm looking for someone - (perhaps like you!) to advise me. The production costs of this small-edition publication means that I will do little better than breaking-even on sales, though I think that I could probably include international postage at £6- inclusive.
  10. Hello Folks! 'Ditty Box', a little booklet of humourous songs and poems, was put together by me over a long period with a local flavour (Cornwall, England) in mind. Up-to-now offered for sale only locally, several purchasers have suggested that its contents merit a wider audience. I have reached that persuasion myself, believing that there's 'something for everyone' within it. I'm really pleased with the series of amusing drawings made by local artist Andre Ellis to illustrate it. The cover price is £4.95 and I will include postage (to UK addresses only) for an extra 5p! i.e. a total
  11. Thanks for your comments, folks. TOM. I've never found it necessary to incorporate anything more complicated than a single sprue to admit the molten metal at the top of the mould. If you look at the hand-written notes at the end of my 'crude diagrams' it does say that an air vent is incorporated: it was omitted from the original photograph of the mould in order not to complicate the image. As for the rest - well, I am allowed to retain a little mystique, surely? Cheers, Dave
  12. re. CASTING REED FRAMES Thanks for your interest, particularly Alex, Chris and Tom! I'm not familiar with the innards of Base English instruments, Alex. I have heard it said that some of them used Harmonium reeds, but this was probably 'mis-information'. Chris - Thanks for your experience of reeding frames cast in phosphor-bronze. I suspect that the silicone moulds that you speak of were used to cast wax models of the frame pattern which were then invested with a refractory medium for casting by the lost wax process. Silicone moulds would not withstand the searing te
  13. CASTING REED FRAMES In constructing a few instruments of my own, I had always used reclaimed Lachenal reed-frames, suitably cleaned and refined. I had been given a large quantity of these by a friend years ago and acquired more since. Many that contained damaged, missing or brass tongues could be bought very cheaply. Modern wood-saw blades have been a source for my reed-steel. I intended to make a Baritone Anglo. As this was to be pitched a whole octave below a standard C/G and reed frames of a suitable size for the lower notes are not easily obtainable, I had to reconcile myself to
  14. I composed this simple, quirky little waltz a long time ago, when I was trying to learn to play an Edeophone McCann Duet concertina that I'd just acquired. Sadly, I didn't persevere enough with the McCann, but the tune remains! The 'dots' are appended.
  15. As said previously, I raised this topic afresh only because of the seemingly ignorant and offhand attitude displayed on the subject of chamfered bellows cards by one restorer that I made enquiries to. Its good to see that some people are 'aware' and making sensible responses. Although its some time since my last concertina construction, for the record, I did have to glue 2 cards together to get the thickness I wanted and I did use a belt-sander to do the chamfering!
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