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About Dissonance

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  1. The Concertina Fire! This is was most unexpected and in retrospect very entertaining. Through the help of counseling I am now finally able to tell the story ? I got ahold of a Stagi Anglo, you know, inexpensive, steel ends white celluloid acetate buttons. The problem was that someone in the distant past thought it was a great idea to hot glue the buttons to the levers in lieu of the rubber sleeves. Well it wasn’t a great idea because all the buttons were just getting stuck (this system relies on flexibility). I did just about everything I could think of to remove those buttons, nothing worked. That darn hot glue had way more strength and integrity than the cheap aluminum mechanism. As a last resort I decided to use a heat gun to try to soften the hot glue to the point that I could take the button off the lever. Starting with a warm setting I carefully increased the heat incrementally and .....BANG!!!......the button I was working on flared up like a firework. Literally In under a second and before I could reach for a rag to put out the fire it had spread to three other buttons and singed a couple more. Let that be a warning! After the smoke cleared (and there was a surprising amount of it) I checked the temperature of the heat gun. I was able to hold my hand under it for quite a while. What this means is that these old Stagis are a lot more flammable than gunpowder. I think I may have stumbled upon the secret Stagi self destruct mechanism.
  2. Hello Clunktrip, I apologize, I think this didn’t go the way I intended at all. I have found very few EC players that believably play Irish tunes. You are definitely one of them and I was looking forward to hearing a lot more. As a lifelong tenor banjo player, playing EC like a tenor banjo was really a compliment though I can see now that it might not have sounded one. Oops! I guess not everyone loves banjo like I do. I would love to have a more extensive discussion with folks about Irish technique. I have been thinking of the EC more like a fiddle and the bellows as a 10 foot bow that you only use tiny portions of. My goal has been to try to emulate the fiddle bowing and try to use the same ornaments the fiddler does where they line up well. It didn’t occur to me that you could essentially drive the tune with doublings.
  3. Who is this EC player playing Irish. What is interesting to me is that he is doing all this without bellows reversals. He/she is basically playing tenor banjo on the EC. The rhythm is based on doublings. I like it and would like to hear more. https://m.vk.com/video-70097560_168377833
  4. Yes, tenor treble EC. You are right, my experiment is modifying too many parameters, to be a decent scientific experiment. I plant to make two moves that I think shift towards brighter and louder.
  5. I probably need to add that I am taking about a 56 key EC, although the number keys could be altered easily in the design.
  6. Hello, I am am planing a little experiment. I am going to make a set of metal sides for my wooden ended 1918 aeola and see how the sound changes. I have no illusions about how much effort this is going to take, so it might as well end up looking right. To that end I would like to ask if anyone might be able to share a good line drawing of metal fretwork for an aeola of this period? I am shooting for a design that is quite open. I suppose if I can't get a line drawing, a true head on picture of both sides might make a good starting point as well.
  7. Thanks Geoff and Theo, The instrument is extended up. No reedpan leaks that I found. 48 button ECs seem to not be valved on the highest 4 or so. Therefore I am betting that everything higher than those should be valveless on mine. No reedpan leaks that I found. I will take Geoff's advise and try a couple notes with thinner valves.
  8. Hello Folks I acquired a 56 key 1918 Aeola recently. It is a really nice instrument and I have been putting lots of miles on it. Comparing it to friends instruments of similar years with identical scroll work, mine seems to have a darker tone above "violin e string". Also I use a bit more pressure for the high notes in order to get equal volume with the low notes. Mine has the heavy white valves all the way up except for the last two notes which don't have valves. What I expected is: The thinner brown leather valves with the last octave or so left without valves. The instruments I am comparing mine too seem to have all thin brown valves. Could the thicker white valves explain the darker tone? The logic would be that they disproportionately effect the high note.
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