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Oberon

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

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  1. I had one from that era and it was actually quite lovely. Dovetailed steel reeds in aluminum shoes and even though the action was their style of 'hook action' it was swift and smooth. I miss its tone but I'm an Anglo man at heart
  2. I own this instrument now and its an AC Norman standard through and through, down to the last detail. I wrote Andrew about it ahead of trading, just to be sure, and he explained the history of this branding at the time. Its a lovely fast (loud) player and no different from another Norman Id tried from a more recent year. It needed some adjustments when I recieved it but its a stellar machine now.
  3. I'm putting the feelers out there to see if any folks have a C/G (or c#/g# or d/a even) 30 button, or more, Wheatstone from the 40's through the 60's. I know its not everyone's favorite era, for sure, and some of them can be worse than others but Ive been missing the concertina reed sound and was especially fond of the aluminum shoe'd reeds of the lasts 50s wheatstone I owned. I'm looking for models with dovetail reeds, not crimped please. It would need to be responsive enough for irish trad. Theres a Bb model being offered up that mostly fits the bill, but I'm most interested in c/g and higher pitches predominantly. I currently own a nicely fast playing and loud AC Norman C/G with Jeffries layout, tipo a mano reeds, badged Homewood. I love the thing, especially love jeffries layouts, but in the end its louder than I'd like. Id like to trade and add cash on my end for the right box, but its not a rule. Thanks!
  4. I saw that too. The bellows were in a right state, but the initial price looked reasonable, until the bids started rising of course. I think that, considering the value and renown of a jeffries anglo instrument, there are people who will spend considerably on any jeffries instrument, even a duet. Theres always the possibility that whoever bought might have done so to convert the duet into an Anglo. Its certainly been done a number of times before.
  5. Wow, this is certainly very interesting (and rather odd!). Do you have a closer up shot of the reeds perhaps? I'm quite curious about their construction. It looks like the low reeds on the left end have traditional styled reeds (with a rivet in place of a clamp). Are they in a dovetail slot?
  6. A particular Suttner may be less, but its not a Steve Dickinson Wheatstone, just as a Jeffries isnt a Dipper. Its worth the money. Your comment seems to imply something negative about the value of this instrument
  7. I tried digging around for answers to this but couldn't come up with anything, so here we are. Ive been thinking about this a lot lately as my trad playing requires ever bit of air in the bellows to be efficiently used, so when there's a problem its usually quite noticeable. Ive noticed for a while now that the speed at which my bellows will close changes depending on the reeds, and while that would make logical sense between low reeds and high reeds (lows using more air to cycle, highs less) the most surprising and frustrating rate is that of the D''' (right hand, first row, third button push). The neighboring push reeds consume at a pretty consistent rate for what you'd expect, but for some odd reason that D''' and maybe the neighboring G''' cause the bellows to close at an alarming rate comparatively. Additionally confusing is the fact that the reed set is pretty good, volume balance and intializing/swing cycle speed are all pretty consistent with the rest, but I cannot for the life of me figure it out, so im ordering a few other reeds in to see if there's a difference. The fact that they're not valved makes me wonder, but ive not run into this issue before with non-valved reeds. I imagined that if a reed cycled at the appropriate rate (which it would need to in order to produce the desired pitch, no?) Perhaps there would be air loss, but I cant come up with enough logic in that concept to buy it. I feel like I'd read something about this in the past but I simply cant recall. I'll see if I can slap a video together soon for reference.
  8. My current concertina is equipped with some tipo a mano reeds (the brand of which I cannot detect) and I've had accordions with such reeds in the past as well and the sound and playing quality has always been very pleasant, but lately I've been curious about how potentially higher quality or varied profile reeds might affect the tone of my concertina, should I want to swap them out. I recalled seeing concertina reeds in the past that had a somewhat 'rounded' (the edges seem to be curved a bit) profile so I'd started looking into that and noticed that Salpa make A Mano reeds with flat OR rounded (Bombata) tongues. They also have brass reed plates. Would such a reed, a brass plate and rounded tongue, or just a rounded tongue alone, provide a slightly more concertina reed-like sound perhaps? And though I think that's probably unlikely, I do wonder what folks experience with such reeds has been. Have these been used in Hybrids before? Is the response faster or harmonic quality greater? Thoughts?
  9. When I was shopping for a hybrid a couple years back, I figured I'd asked the folks at mcneela for some shots of the internals so I could make up my mind about whether I'd opt for a swan or something else. I knew they were made in China and was concerned they'd have stamped metal action like a stagi or something of that ilk, but surprisingly they are riveted. The pads seem glued on and the reeds appear to be waxed. I preferred bolted on reeds for ease of serviceability and ultimately passed, but its a nice box all the same. Just for a bit of on topic, I love the OP's logo job. I think its brilliant and its a massive improvement over the original boring typeface. I appreciate added artistic detail.
  10. As far as I recall reading at one point, the DIX reeds have a different profile when compared to vintage reeds (though I would assume those old companies also had their differences in profile as well?) So they aren't interchangeable with old reed pans. That is to say, if you remove lachenal reeds from a lachenal reedpan and attempt to install DIX, they won't quite fit or won't fit well. I could very well be wrong, but I do recall reading this at one point. I believe the solution to that issue is to build your own reedpan designed around using DIX concertina reeds. I think a couple concertina makers these days offer such concertinas with DIX reeds. I can think of two at least.
  11. The Phoenix is made in China to my understanding, and while I'm not sure I *think* the minstrel may be made in America. If the tech for mass production has gotten solid enough, it may mean that these two may not be too far from each other in terms of quality. Wim Wakker (concertina connection) is a very detailed and meticulous maker and even if the minstrel is produced for him and not by him, I feel that id be likely more apt to trust his quality control and product support. The Phoenix is sold by Mcneela and I cant say as to whether or not they have any concertina makers working for them in this department. My personal vote would be toward the minstrel, especially if you live in the States, but im sure other folks will have some input as well.
  12. Almost looks like a George Case, sans frequently seen inlays, but something is definitely different than the commonly seen ones if thats the case
  13. I would have assumed it was a Jones, too, as the fretwork seems similar to a number of their anglos. One of the rivet posts also has that keyhole shape that I've seen in Jones concertinas, but since this is a right Frankenstein, who knows whats original? The amount it sold for in this condition makes me wonder if someone knows something we don't. This jeffries here has simpler fretwork, could it be some bonkers jeffries? Probably not, but one has to tick all the boxes.
  14. Ive managed to increase the power to the very much needed B/A reed by removing the valves and setting the tongues higher. I tried clipping the ends of the valves originally, but I was hearing some very odd sounds when lightly pressed, and the notes just were a little too breath when attacked. Curiously, the alternate B and A notes are far more punchy and powerful. The sets seem to be very much the same, but yeah, the B/A button just doesnt have the same strength as the others. Perhaps its a matter of reed quality or maybe the chamber for those other higher reeds is smaller? Theo, in terms of producing a wedge, Im a bit concerned as to where I could put it. I would have to locate it away from the pad hole, not doubt, but If I put it at the far side of the chamber away from it, it would be close to the reeds tip. perhaps I should experiment with a thin piece of wood to just raise the 'floor' of the chamber? This block would be resting on the underside of the action board though, so it would have to be an easily removable component
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