Jump to content

JackJ

Members
  • Content Count

    23
  • Joined

  • Last visited

About JackJ

  • Rank
    Member

Profile Information

  • Interests
    Irish Traditional, mostly.
  • Location
    Indiana, USA

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. To follow up on my own post: I've had the Zoom H1N for a couple of days now, and it suits my needs quite well. Very easy to use, the quality of the recordings is plenty good for my purposes, great small size, and reasonably priced. My next step is to decide what software I'll use to edit the files I'm creating. I spend time on outdated iPads, MacBooks, Windows desktops, and a new Chromebook, just grabbing whatever no one else is using around the house. It'd be easier if I could stick to one OS, but I guess I'll start with Garage Band since it seems like it should have an easy learning cur
  2. As someone recently in the same position, this sort of comparison would be very helpful, so I hope you get some insightful replies. But I'm guessing very few individuals have tried all three of these models. I ended up splurging on a Morse Ceili, and have no regrets, but it was quite a bit more money. I'd love to see more information about the models between the Rochelle and the Ceili. Good luck with your decision, and please report back with what you decide.
  3. Thanks again for all the input here. After researching lots of options, I felt most comfortable going with something on the cheap end, so just ordered a Zoom H1N on sale for under $100. I didn't realize these less expensive models could overdub on the device itself, but since they can, this will give me most of the functionality I want, especially since I'm not sure I'll ever want to go so far as purchasing and using external mics.
  4. Thanks for letting me know about this one--I hadn't heard of it until reading your post. I was pretty enthusiastic reading the specs, since being able to control it remotely from a smartphone app would be really nice at times. I've also had great experiences with other Roland gear. On the downside, I'm seeing a fair amount of negative reviews from users who've experienced problems with it. E.g.: https://www.sweetwater.com/store/detail/R07--roland-r-07-stereo-recorder/reviews Have you had any issues with yours?
  5. I just sent in my deposit for the Noel Hill Irish Concertina School in Cincinnati this summer--it'll be my first visit. Back 15 - 20 years ago when I would go to bluegrass/old time music camps (with a guitar) I used a minidisc recorder for the workshops and concerts, but that device died long ago. I'm currently using an iPhone 7 with the built in mic and the Voice Memos app for recording lessons and tunes I want to learn at local sessions. It works ok. Of course the sound isn't great, but I know an external mic could help with that, and there are apps that would no doubt offer lots of adva
  6. Thanks for these very helpful replies! To answer and respond to some of the questions/solutions: Yes! Those are both good options, and a reminder that I'll benefit from spending more time on some of these alternatives for sounding certain notes. That outside row in particular, apart from the push C#, is mostly terra incognita for me still. I'm still working on the flute, but the embouchure is coming slowly. Whistle is my primary ITM instrument, and I'm still devoting time to that, too, but the concertina has a more interesting sound for me , plus the
  7. I'm coming to concertina from playing ITM on whistle and flute, and I'm now at the point where I'm trying to apply what I know about ornamentation. Starting with cuts, I pretty much always use the finger above the note to cut with the wind instruments. So if I'm cutting the note G, I'm using the finger that, when lifted, would sound an A. Though not everyone does it this way, keeping the interval between the cut and the note small (a whole step or a half step) generally sounds better to me, even though the cut should typically be so brief that its pitch isn't harmonically signi
  8. I'm very new to concertina, but have been learning new instruments regularly (and not with any great skill, I should add) for the past 50 years. My suggestion, based on what's working for me, is to start learning some new tunes completely by ear, using no tab or notation. It's hard, or at least it's very hard for me, compared to reading the notation. But there are so many benefits: First, while I learn the tunes more slowly, I get them memorized much more quickly. There's no discrepancy between the tunes I can play and the tunes I can play from memory. (Though sometimes I migh
  9. I have a 20b Jones Anglo that I'm thinking about selling, as I've since acquired a 30b Morse that's getting all my attention. PM me if you'd like details on the Jones.
  10. Thanks for these tips! The 'cross the pond shipping on the Anglo International is more than the cost of the discs, but I may go for it nonetheless. And hoping to hear back from MaryLou.
  11. Still at the beginning stage of learning about the concertina, I'm hoping to get to listen to some of the recordings I see referenced here, but that aren't available on Spotify or the CD vendors I've checked. At this point I'm especially interested in Anglo International and Elizabeth Crotty: Concertina Music from West Clare. If anyone has copies they'd be willing to part with, or knows of some other source where they could be purchased/streamed, please let me know! Thanks!
  12. Thanks Bill--I think that's a really good point. While I'm curious about the sound differences of instruments built with different reeds and from different time periods, it's immeasurably more important to have an instrument that plays well. To that end, I'd only buy a vintage instrument from a source that does restorations, and that will be there if at any time further work is required. I was thinking the prices for cosmetically flawed but otherwise fully restored Lachenals, etc., are in the same $2 - $3K range as new/gently used hybrids, but I'm still learning. At this point,
  13. Ok, good to know. It's a mere 14 hour drive to the Button Box, so if I leave now, I can do some comparisons in-person when they open tomorrow.?
  14. May I ask why? Seems like for some folks there is a strong preference for the tone of traditional concertina reeds, and others say they prefer the hybrid tone. And I've also heard that some folks either don't hear a difference, or think the difference is slight enough that it's outweighed by other factors, e.g., the design/construction techniques of particular maker. Are you in this last camp?
  15. Greg was actually the source of my recently acquired Jones. When it comes time to upgrade, I'll probably trade in my 20b toward one of his 30b offerings. And I believe that Ken is right in that Greg only works on concertina-reeded instruments. Since it's come up, let me say that he was great to work with, giving me very detailed answers to a good number of questions, and delivering an instrument that easily exceeded my expectations, especially given the price. Still, when I see a slightly used hybrid available (an Edgley was posted here just today), I can't help but wonder how i
×
×
  • Create New...