Jump to content

Richard Mellish

  • Posts

  • Joined

  • Last visited

Everything posted by Richard Mellish

  1. Either I missed seeing this when first posted or, like mbarrhamilton, I was put off by its being so different from what I am used to, in my case the 40-button Wheatstone layout that I have been playing for nearly 40 years. If the sale to mbarrhamilton goes through, good luck in exploring the possibilities. But if it doesn't go through I would be tempted.
  2. There can be many reasons for one concertina to sound different from another. I am not convinced that the reed layout in itself (radial versus whatever you call the usual Jeffries layout) would be one of them, though it may have implications for the sizes of the reed chambers.
  3. One obvious question is why have those strange bars to operate the valves on one side when there are perfectly normal buttons on the other side.
  4. That looks to me like a question with no right answer. As an instrument for playing, it's somewhat limited both in range (presuming that there's some overlap between the ends and therefore less overall compass than a 48 key English) and (probably) quality. And learning that system would take time that might have better uses, and even after learning you probably wouldn't do much with it that you can't do with your other concertinas. On the other hand, it's a shame to leave a musical instrument sitting on a shelf rather than doing the job it was built for, and the parts that would need to be replaced are not very significant for originality, as they would probably have been replaced more than once before now if this instrument had been in regular use.
  5. One more thought: what works best when you're sitting down and resting the instrument on your thigh may not be so good when you're standing up.
  6. Some experienced players have the straps fairly tight, others fairly slack. You need to see what suits you, and not necessarily then keep it the same for evermore.
  7. 54 pairs of reeds seem an awful lot to fit into that size of concertina.
  8. When Wim Wakker supplied my G-minor/D-minor Anglo, he told me to keep the humidity under 40% by means of silica gel or a humidifier as necessary, and monitored by a hygrometer, though "Over time, the instrument will become less sensitive, and will adjust to higher humidity levels." I did get a hygrometer which I hoped could be fitted inside the case but it didn't fit and I didn't get around to finding a smaller one. I do have a hygrometer in my hall, and despite central heating the humidity in my house is seldom much below 40%. I have kept the concertina in its case with silica gel most of the time.
  9. Sorry, I don't have any details. As I understand it, the basic principle of a Jeffries Duet is to put what would be the push notes and pull notes of an Anglo on separate rows. But I am sure others on here can provide much more detail.
  10. Near Stoke on Trent. When I visited Chris Algar met me at the station.
  11. At one time I had one that had started life as a Jeffries. Steve Dickinson had overhauled it and found that many reeds needed to be replaced. Rather than leave a mixture he had replaced all the reeds by new ones.
  12. I think the chart is very good and deserves to be fully developed in a digital version. Should Jeffries Duet be regarded as descended only from Jerries Anglo or also from other Duets? If I understand correctly, Wicky and Hayden are slightly different and were invented independently, so perhaps they deserve separate boxes. I'm not sure where the lines should be to show where those two kinds came from. Some other button layouts have been discussed here, such as piano-style* and Anglos with a few "Duet" buttons. I'm not sure whether they deserve to be included. * I've seen one here very recently but can't find it now.
  13. On my G-D I use the left thumb button as part of a C chord on pull but I agree that it is of little use on push. I wonder what I might find more useful, not too far away in pitch for the same size of reed (though not necessarily the same reed retuned).
  14. Indeed! I have a mild case myself, but nowhere near David's; seven Anglos, one English and one Duet.
  15. I have one McCann that I've never got very far with, so I'm not in the market for any of those, but I am fascinated by why David had so many of them. Metal or wooden ends for different sound, and more or fewer buttons for versatility versus lighter weight, would make a total of four. Why so many more than that? I will be interested to see what the Anglos are, when those are listed. Meanwhile, back to the OP, can we assume that his need has been sufficiently addressed?
  16. There are two reasons why I don't think I'm in the market for this one. I've got very used to the Wheatstone 40-key layout over the last 38 years, and I already have a Bb/F baritone. So if I did buy it I'm afraid it would get played very little. But it does seem a beautiful box, so let's try to find it to a good new home. Sending a concertina from South Africa to Britain for me just over a year ago cost about GBP200: shipping from Oz to North America or Europe would presumably be similar, so not a serious obstacle.
  17. I hope the OP does get a chance to try a better instrument, preferably several. He can then make an informed choice as to whether and when to upgrade. If there isn't anyone in South Wales, WCCP aren't too far away.
  18. My 40 button Wheatstone/Dickinson G-D is heaxgonal, 6 1/4" across the flats, but has the compromise of a weight on the end of the bottom G reed, which is a little sluggish. I have four 40 button Anglos that are larger and I don't really see any great disadvantage in the larger size. Yes, more wood means a bit more weight, but I think the larger reed frames make more difference to the weight.
  19. As far as I can see, none of the pictures shows a serial number. Can the OP find one? I was waiting for someone else to say this, but no-one has, so now I have.
  20. If the OP is honest and simply wants to get a fair price while the intrument goes to a good home, they should be able to take some photographs or, if they have no suitable camera, find someone to take them. Otherwise it's at best a pig in a poke, at worst a total scam.
  21. I have known of a well known dealer supplying an instrument which had supposedly been put into top condition, and an expert maker/repairer then criticising the quality of the work. (I won't identify the instrument or either party.) It is perhaps just that some have higher standards than others.
  22. Was the OP raising an academic question or do we know someone to whom we might be recommending taking up the concertina? If the latter, they could be put in touch with a blind person who already plays the concertina, such as Kate Portal https://www.sfs.org.uk/storyteller/550/profile
  23. > It is a traditional dance tune from Sardinia named "Passu Torrau". I thought it might be, that being a dance I was taught a long time ago.
  24. That would be true for a sudden change of pressure from a normal level to zero; but that is an extreme scenario. If the astronaut goes out through an air lock, the pressure reduction would be slower and the air would have time to get out, lifting the pads slightly if necessary. But anyway the OP was about a concertina inside a space station, with zero gravity but normal air.
  • Create New...