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Dave Leggett

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About Dave Leggett

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

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  1. Follow-on Layout diagram for Edeophone duet no. 4366. Dave
  2. Dave Leggett


    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's an awful lot of instrument for the price I'm asking! At some time before I bought the instrument, 25 years ago, the tuning on the right hand side only had been lowered professionally overall by 3 tones, so that the fingering pattern on the keyboard is exactly the same but gives notes lowered by one row. The layout diagram that I've appended on a follow-on post will explain the arrangement. I've highlighted 'Middle C' on both sides in red. Neither I, or anyone that's played the instrument as far as I know, has ever found this change to be a problem. I'm an Anglo player. I never 'stuck with' duet concertina playing and have retained the Edeophone this long only because it's such a beautiful thing! My asking price is £1600 GBP but might be open to sensible offers. Selling to a personal caller would be my preference but I am prepared to post at the purchaser's expense (this within GB would be around £30 (insured) but considerably more overseas.) (If sold in this forum, I will contribute usual commission to Concertina.net). Thanks for looking, Dave
  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 enquiring mind to till (to paraphrase Tom!). Happy researches. Dave
  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 an informative 'you tube' video with a Chinese chap discussing the anatomy etc of the instrument. The entry is under the 'Philharmonia Orchestra' title. It's definitely time for some enterprising and enquiring person to take up this baton (that person can't be me)! Happy Inventing! Dave
  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 much air as the pipes could ever use, that a relatively small spillage of air from the 'action' in the wind-chest is a mere drop in the ocean. Yes, the sealing round the buttons to prevent serious air spillage is a problem that has to be admitted, but I can think of one or more ways round it. It is thinking round such problems that make the project interesting is it not? Best wishes, Dave
  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 McCann keyboard years ago! This is the third or fourth prototype of this kind of instrument that I've made and it really does need another person to develop to full potential. I've retired as an amateur instrument maker and would willingly pass this project to someone else freely, but this individual would need to call on me sometime in person to discuss over a glass of wine or a coffee! Best wishes, Dave
  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 useful draught of air in both travel directions of the piston. The 24 pipes are all of the stopped sort; made from copper and brass tubing (4.5 - 21mm i.d. approx.). The stoppers (tompions) are turned from hardwood to just slide snugly into the pipes using melted beeswax to seal them and fix them in place once tuned. A ratio of about 8:1 stopped pipe length/width seems to give the optimum sound quality, though ratios somewhat higher or lower were found acceptable. This enables a compass of about 2 octaves up from the 'D' above 'middle C'. This pipe has a stopped-length of about 260mm (10") (- a stopped pipe sounds an octave below an open one of the same length). The keys are like concertina buttons and arranged in a pattern based on that of the McCann duet concertina. The action inside is made exactly like that of a concertina too, with brass rivetted levers and circular pallets covering the pipe ports. The big difference is that the 'tray' carrying the action has got to be airtight! The pump-bellows cylinder is made from standard builder's 6" PVC drainage pipe. I hope that the attached photos do all the explaining you might need! I used the McCann layout because I could limp-along in that system at one time (I can't now!). The system needs more development work, especially wrt bellows efficiency and air-leaks, in order to make playing easier. Devise a treadle bellows or mechanical blower and control more pipes with both hands and it's an instrument with different potential. Now I'm being silly. Its sitting on my shelf waiting for some enthusiastic caller to take -up the challenge! Dave.
  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


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

      Kind regards,


  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 of £5.00 per copy. I would send to most addresses worldwide at a post-inclusive price of £7.00 per copy. Copies are available direct from me: Address: D. Leggett, 'Ashanti', Cadgwith, Helston, Cornwall TR12 7JZ. email: ajenda@btinternet.com Please email me for my IBAN code, (or further details if required), giving your postal address. 'Hours of amusement for the price of a pint!' A small 'flier' for the booklet is attached'. Cheers! Dave
  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 temperatures needed to cast phosphor-bronze direct. Nice application for the technique but definitely 'industrial' and not suited to the amateur! Tom - I have drawn some crude diagrams,explanatory diagrams, which are appended. Its very necessary to rake-out the compacted clay that's penetrated the 'flared' area of the slot from the front of the pattern in the drag. Without doing this, the pattern will tear the moulded clay in the drag when its shaken out, because that portion of it would be under-cut. The gap left in the united mould is made-good from the cope when the parts of the casting-flask are united and the cope re-compacted. In answer to your query, the casting process using Delft Clay produces very smooth surfaces, but like all castings, will need some fettling or file-work refinement, particularly within the slot. (By the way, Tom, I guarantee that no virgins were hurt during the making of these reed-frames!!) Cheers, Dave
  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 making them. I reckoned on having to make 1x reed frame for 50mm tongue-length, 2 for 45mm and 6 for 40mm. I was quite happy to fret-out the 3x larger sized ones from 2mm brass sheet but the 6 at 40mm were enough in number to justify making a casting-pattern in brass and using this to 'sand-cast' them. I would be casting in a bronze alloy using Delft Clay as the casting medium. As a working jeweller, I was already set-up to produce small castings in sterling silver using this technique. I experimented with alloys and found that 75% Cu: 15% Ag: 10% Sn gives a brassy-looking alloy that melts in an achievable range, (about the same as sterling silver: ca. 850-900C) and works amenably. The castings would have to be fettled, of course but if done thoughtfully, both the dovetail bevel and the slight flaring of the slot from front to back, included in the pattern, may be achieved as integral with the casting process. The idea of casting reed frames may seem a bit 'academic or old-fashioned', particularly in a role where CNC machines have taken over the territory traditionally occupied by precision press-tools. I hope that the appended images will give any explanation you might want, that I haven't included in the above text. KEY TO IMAGES 1) Lower half of casting flask (the drag) 2) Upper half (the cope). Both contain the compacted and levelled 'Delft Clay' and show the impression left by pressing the pattern - flat, top down, (with a board) into the drag. Clay has been removed to a depth of 1.5mm from the drag reed-slot using the 'hag's tooth' tool (7, below) before the cope is applied and re-compacted. Release material is talc. 3) Low 'C' reed': 50mm in length, in frame fretted from brass sheet. 4) Low 'E' reed: 45mm in length , in frame fretted from brass sheet. 5) Casting pattern for 40mm reed frame and clamp plate. 6) Low 'G' reed in bronze frame: cast using (5) as pattern. 7) The 'Hag's Tooth' tool, with tooth 2mm x 1.5mm: simply made from sheet brass. The final images show the finished 'Baritone' with normal sized Anglo for comparison.
  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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