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About Oberon

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  • Interests
    Playing guitar, irish music on b/c box, making ocarinas (21 years of experience), cycling.
  • Location
    New England

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  1. Heres some audio clips: Tunes: https://www.dropbox.com/s/v0w2h6hyb400cki/20200116_113303.mp4?dl=0 https://www.dropbox.com/s/76mjphcghfgmjnu/20200116_113117.mp4?dl=0 Scale: https://www.dropbox.com/s/dprdmz2h55if1ro/20200116_112939.mp4?dl=0
  2. Up for sale is an old Lachenal concertina with mahogany ends. It has brass reeds that sound very warm and sweet, with a few steel reeds on the left hand end, but they blend nicely together in pitch, all are in working condition. All new pads and grommets, apart from the air button pad which works just fine. It is very much in playable condition, though in need of a little tuning. I'd bought this instrument very recently off ebay but I would like to switch to English instead. There had been work done to this instrument before it came into my possession, and it will need a bit more restoration going forward. There were some cracks in the left hand action board that were repaired, but not very well and could stand to have some fresh work done. The previous owner made and installed neoprene gaskets to take up slack at the meeting of the action board and reedpan. They work well, and once the chamois is replaced on both reedpans, it may mate nicely again. Height adjustment to the corner supports may be in order here as well. There are some old patches that seem to be holding but could probably be replaced. No case included. $620 +shipping, which is less than I bought it for last month. Please feel free to ask any questions! Im happy to record a sample as well if youd like, photos coming soon.
  3. Dowright, It looks like 165161 from what I can see. I hope that helps!
  4. I'd say I'm particularly interested in an English, and if folks arent into in trading, but are selling one, I'd be interested in hearing what you've got!
  5. Hey folks In my unending quest to have a concertina that plays well without issue, so I can improve as a player, I'm putting the feelers out there to see if someone would be interested in a trade. I recently bought a mahogany ended C/G 28 button lachenal in fair shape. It needed some work and still does. I've improved a number of things and while I really do enjoy working on instruments (I make them for a living) I'd rather spend more time playing and less time fixing. I was a bicycle mechanic for over 10 years and after working on bikes more than riding them, I'm loathe to repeat that same pattern with concertinas. It plays, itll need tuning and it's got some other things going on but it's a good candidate for restoration. I also have a melodeon I'm putting up for sale to fund this concertina venture. I didnt intend to sell my box as I really love it, but I really want a proper concertina that plays well off the bat more than anything so I can just get to enjoying the thing. A bit about the Morgane: Hohner Morgane, in keys of B and C. The action is quick and set lower compared to factory Morganes, and it's been upgraded with italian Tipo A Mano reeds and the entire range shifted down a little, so that it mimics a 23 button Paolo Soprani's low end. That is, it is shifted down one button. Responsive, dry tuned and the tipo reeds really are a easy on the ears. The button clasp on one side recently came undone at the rivet on the strap side and I havent gotten around to replacing it, but it's a cheap fix really. Normal light wear, in good cosmetic shape, but please feel free to inspect the photos as best as possible. Includes original hard case and one strap for playing on the side, as folks do these days with trad. Anyway, With that in mind, I'm curious if anyone would trade either a 30 button anglo or English treble in exchange for both my lachenal concertina and hohner morgane b/c box. I'm not interested in stagi, bastari, Italian or chinese boxes, I'd be more interested in a modern hybrid like the Minstrel or a proper restored vintage concertina, maybe a lachenal new model, or something comparable. I dunno, just putting the feelers out there to see if theres any interest. If not, I'll ultimately just sell both individually to gain the funds anyway. I'd considered checking if this is something the button box would be interested in but I'm not sure. I'm happy to provide more information or photos or clips if I can as well. I'm based in New England in the States. Shipping could get a mite expensive if going overseas, not to mention parcel force's extortionate fees, so just bear that in mind. We could figure that out at any rate. Thanks!
  6. Ooooh, I like that, brilliant! I had attempted to work it in and found it was a bit lackluster a result, but causing negative pressure sounds like it could do the trick. Man, thanks so much!
  7. That sounds alright enough, if the existing set of reeds in an instrument are not so hot to begin with. Though, as someone mentioned earlier, there are some makers that seem to get brilliant results. I was combing around Edgleys pages earlier and saw what looked like DIX reeds in an instrument of his. I could be wrong of course, but it looked similar at least. His instruments sound fantastic, as do 7 mount, so as long as the instrument is well made it seems worth it
  8. Thank you kindly for your help, sir! I do have Dave Elliots book and have studied it as deeply as possible, and aside from that I refer folks in the industry and to articles on this site for many other issues, but I couldnt find anything that precisely discussed this 'run' interaction spot. So feeding a bit of glue into the seam will be appropriate after all? Excellent. I guess I should trust my intuition with that a little more, but when it comes to taking care of a very old instrument, I would prefer to double check with folks. An ounce of prevention is worth a pound of cure, measure twice, cut once, and all that. Cheers!
  9. I'm not exactly positive on what the terminology for this specific leather component is yet, but I've found two leaks, both at where the binding strips interact with the butterflies and gussets. Please correct my terminology if youd be so kind! I've not had much trouble patching gussets and hinges, but I'm not sure how to proceed here (I'm not in a position to rebind bellows, mind you). I'd considered just trying to work a thin thin layer of pva into the seam and press it closed. Photo for reference. Its that arched line close to the corner, between the papers
  10. Ah, I see, thank you so much for shedding some light on this. When I first got into concertinas a few years ago, I thought they were exceedingly complex and as time has gone by, they seemed more simple and now even more complex. It's the nuance and variability of each factor that really makes this an instrument of amazing engineering. Anyway, considering I dont see reedpans come up for sale very often (and even if they did, they probably wouldn't fit my instrument l) I will leave this instrument as is. Though, there are a number of steel reeds in this one too, so they must've worked out alright at the time. Barring full reed swaps, what of replacement reeds in general? I'd like to track down a brass E reed (second button, middle row, right hand) as mine seems to have some issues and wonder if spares are available out there in America. Thanks again!
  11. As I've been working on my concertina, I'd been contemplating whether it would be logistically and economically feasible to obtain a second set of reeds. The current reed set is brass, and while I enjoy the sweeter, quieter tone for personal playing, I would also like to have a steel set some day to swap to if playing sessions. I sold off my previous concertinas this past year and regretfully do not have a performer at the moment, and instead rely on my B/C melodeon for events. Having a steel set might be in the cards if I intend to play out with this concertina... So my question is: what does a set of steel concertina reeds for a 30 button run for on the current market? I suppose everyone that owns sets charges varied amounts, but what can I expect to be the average? I know the Barleycorn stated somewhere that they have thousands of old reeds, so imagine they must be available. Apart from that, I'd been considering DIX Concertina reeds as well. Will these fit a l and lachenal reed slot and how much does a set run? Thank you all for your help in advance!
  12. I've been wondering a bit of this myself lately. I use diamond needle files to tune instruments that I make and had been curious about whether its 'safe' to use these for filing reeds. They're probably too coarse to be honest, but still I'd be curious as to what the general consensus is on the matter
  13. Ahh that tool sounds quite useful indeed. I'll have to make one very soon! The chamois very likely should be replaced but I'll try shimming them first. To touch base on the reed shoe shims I mentioned earlier, I removed them and added just pieces to the nose and end near the clamp; they're snug and not super tight like before. I double checked the reeds cleanliness with a very bright LED and noted no burrs or malignment. The metallic sounds are gone, but it seems the reeds speak even slower now. It's the push notes on the right hand middle row that are the worst. The C, E, G, C require a great deal of push to get them to sound, whereas every other reed on this instrument sounds with reasonable pressure. The set doesnt look bad when compared to others. I'll have to try new valves perhaps? Pad height doesnt look bad either.
  14. David, I had read up on that fix idea from a thread elsewhere on this forum and figured it was worth a shot, as I found the right hand reedpan was indeed a bit loose. First I had tried to pry the chamois up but it was not coming up at all. I fear that it will tear if I attempt to lift it. I do have 3 sq ft of chamois and am in the process of replacing the reedpan divider chamois, and could likely replace the bellows end chamois, but I've never done that before and cant detect where the leather ends and the chamois begins. If I can manage to pull up the chamois without tearing it, I'll shim it. For now, I'd wrapped an ultra thin layer of chamois around the entirey of the reedpan and pressed it into the ends and it fit quite snugly and didnt seem to leak, from what I can tell, but that's a very temporary stop gap. I've tried finding articles here that detailed replacement of the bellows end chamois but cant find anything with much visual detail. I referred to Mr. Elliots book but I cant find any section on its replacement unfortunately Any ideas on how to remove/replace this gasket?
  15. Chris, I had the ends off a couple hours ago to check for that very thing but the reeds didnt seem to have debris/burrs and were aligned well enough I think. I'll try with the light box to be sure though. I did, however, notice that it was mostly the right hand that suffered the most from the metallic 'tinking' sound and slow and weak note initiating, and coincidentally enough, the reeds on this side were the tightest and most heavily shimmed. The left hand side had much fewer shims and the reeds seem to fit solidly in their slots without the need for shimming. I didn't have time to adjust the shims today (ie remove them and add thinner pieces, not following the entire length of the reed) but I'll try tomorrow to see if this has an impact. I've improved the air tightness a good amount so far. It started at 12 seconds to full expansion, and now it is up to 20 seconds. The reeds on the left hand play with acceptable speed now and sound good, whereas the right side reeds are weakest on the push notes and rather feeble in attack. I have yet to get to a point in the repair where I can do without the neoprene gaskets, even though I've leveled out the reedpans, as I'm going to be replacing the entirey or the chamois on the dividers, but I cant imagine these gaskets are entirely responsible for the reeds response and voice. The current set on reed height is decent and shouldnt be causing this slow a response in my experience, which is why I wonder if something odd is going on.
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