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About Oberon

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    Advanced Member

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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. Almost looks like a George Case, sans frequently seen inlays, but something is definitely different than the commonly seen ones if thats the case
  2. 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.
  3. 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
  4. Alright, I've tried a few things as suggested on the B/A reed, which is the one that has been making me the most sad. I first tried rotating the reed, and while volume increased slightly, the timbre changes quite a bit as a result of the reed moving closer to the pad opening. Its a lot brighter and tinny sounding, which makes it audibly imbalanced for other reasons. I was hopeful about this but alas, it didn't completely help. I tried gasketing the reed a little to see if it was a leakage issue but it seems to have no additional affect, so onto the next option;
  5. *edit*- just seems to have sold after I posted this! This might not be quite what you're looking for (wheatstone layout) but it looks like a really good deal: https://westernmass.craigslist.org/msg/d/amherst-concertina-marcus-anglo-g-30/7238767184.html
  6. Thanks for your reply and the kind words! The reed tongues seem to be nearly perfectly parallel to the plates, and while id figured it might help to create a higher set, the symptoms didn't correlate to what I commonly hear for low set; that a low set reed would sound quickly, but choke under higher pressure and would also be too quiet. My problem here is that the reeds are slow to speak, can be pushed to be much louder without any choke up and sound like a typical reed, but the overall pressure requirement is too high and imbalanced. That would normally po
  7. Hello folks, I recently acquired an AC Norman 30b anglo in mostly good functional condition, and while I normally have a decent mechanical relationship with concertinas (that is, I can work on most things without being too baffled), there's an issue thats throwing me for a loop and its driving me a bit mad. The topic of reed volume is discussed often, and rest assured I investigated as deeply as possible before posting this query The instrument is mostly fast, bright and loud, which I absolutely love, but the right hand first row (closest to the player) and a couple a
  8. I have a mayfair in great condition, but requires just new thumb straps. It could do with a light set up but it works pretty well as it is. Comes with original case
  9. What effect does increasing the hole size for a pad have on the playing characteristics of its note? Typically these holes are round and can only be a certain usually round size in order to fit the profile of a reed chamber as well as for applying even and consistent pressure, no? As I said before, in ocarinas, chamfering a hole causes the pitch to rise for that corresponding note. By removing material around the hole without increasing the pad contact areas diameter, there may be some effect that helps with pitch balance or something. Considering the chamber cant be made larger due to t
  10. As mentioned, this is often done in woodwind instruments as well. I make a particular kind of woodwind, where almost all of the holes are internally chamfered. Doing so has two effects: -chamfering internally raises the pitch of the note without increasing the functional hole size. This is important for ergonomic purposes. Sometimes a hole diameter can be too large for average or small fingers to cover comfortably, so one chamfers the 'undercut' of the hole in varying amounts until the note is in tune and it will keep the hole much smaller than if chamfering was not use
  11. Howdy! I'm trying to source some goatskin leather to replace some deteriorated thumbstraps on a wheatstone EC that had matching bellows and straps. The trouble I'm running into is color accuracy. I'm a bit nervous about getting something that's a total mismatch and was curious as to whether someone has already worked out this particular chocolate brown and can point me in the right direction. Black has been pretty easy, and green, but the brown has been a bit daunting. Thanks in advance!
  12. Theo, Valve quality and thickness, shape, etc, does seem to be a very nuanced subject. Those factors appear to affect quickness of playing, harmonic content, and the dynamics heavily for sure, and I look forward to learning much more about the very really and very severe effect valves have on a concertinas playability. One thing I'd noticed on my own instrument is that the valves are quite thin, leading to mant popping/slapping sounds and the occasional warble or jump in volume, but in general there seems to be a great level of volume dynamics available to me and higher harmonic va
  13. I know the common suggestion for sizing valves is to measure the previous existing valves, but is there a generally accepted standard for valve length for a given instrument? Ive got a friend with a Wheatstone treble EC, 48 keys, with absolutely no valves on its 96 reeds (barring those few very high reeds which wouldnt have valves anyway). Someone began a project but never finished, it seems. All pads are present, but it is sadly barren of valves. I assume I could use my digital caliper to measure from maybe 4 or 5mm beyond the base of the slot (where the old glue would be) and extend i
  14. Theres also always the possibility that the reed shoe is a little tiny bit loose in the slot. I recently had this issue with my wheatstone EC. I knew the box was in concert pitch before sitting down to play, and upon playing D, found it was a good bit flat. That was very odd, so I opened the box up, found the D, lightly pulled on the Reed shoe and it came out without any resistance at all. I cut a tiny tiny piece of paper a la dave Elliotts book suggestion, pressed it back into the slot with the paper and put the box back together Reed was perfectly in tune again. Just
  15. update: found a box elsewhere. Thank you folks! Hello, I'm switching on over to English from anglo and am testing the waters to see if any folks have an EC they're looking to sell. I'm very interested in one in particular I'm looking at presently, but am wondering if theres anything else that might fit the bill just in case something occurs (like its sold suddenly). Budget is around $1200-1300 usd plus shipping, maybe a bit higher, depending on the box. Metal ends would be great, but wood is also fine, of course. Cheers!
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