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David Lay

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    Celtic
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    Maine

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  1. Wow! I am already looking forward to the posts! Someone has had to have done similar experiments before. I hoped they had shared what they learned, but it seems not. (Interesting idea that a reed needs 100 hours to break-in.)
  2. Start with the keyboard layout you are most likely to stick with. Changing is not so easy for a beginner. A cheaply made instrument will play, but may be frustrating and so test your commitment. If you can, visit a shop and try what they have to see and hear the difference quaty makes.
  3. Where can I read about design approaches to the details of a concertina? I have found some photo essays of others efforts such as Bob Tedrow's and Henrik Muller's. Henrik mentions lectures by Geoff Crabb, but I do not know if these are available. W. Wakker has a couple of pages that help. It seems the only true way to learn is by apprenticeship or by finding a mentor.
  4. I am wondering if there is agreement on how a good quality Anglo should play and what design features affect this. I have a high quality modern instrument that to me is very supple, quick to sound, and has good volume. I also have a hybrid which play similarly. A friend, however, has a red Chinese product which I have tried and found to play "only reluctantly". It's as though playing it is meant to build your strength (or wear you down). Setting aside material quality differences, what makes the Chinese one so difficult? (Certainly, very soft vinyl could be used in the bellows to make it yield.) Is it all in the reeds and if so, what makes one reed design require so much more pressure to play than another that the Chinese maker didn't provide? I understand that cheap materials are "cheap", that the Chinese maker might not quite tune the reeds, and that fasteners might be replaced with hot glue, but do not understand the greater effort required to play one.
  5. https://blog.mcneelamusic.com/2019/10/17/top-5-concertinas/ Here is a sellers review of a few concertinas including a Tedrow.
  6. Since you already have a Swan, it sounds like you are serious about playing. Unless you want to upgrade more than one more time, get as good as you can. If you cannot afford an instrument with concertina reeds get a good hybrid such as an Edgley, Hamon, Clover, or Morse. The top makers usually have a waiting list. There are Irish and English makers as well. You could also look for a used one. (I have stayed away from older makes since I did not want to buy a project. Others can pitch in on their virtues.) Look at prices for new instruments to compare the quality you are likely to get. Less money buys less, as one would expect, however used pricing can vary. If you go to Europe/Britain, the exchange rate affects costs as you would expect. (The dollar has been dropping since the pandemic start.)
  7. I looked for one earlier this year and also spoke with Bob Tedrow about the one shown on his page. I could not find one and so went with a Morse. Doug Creighton was very helpful in making one for me. The wait was not so long in comparison to most makers. Recommended! (buttonbox.com)
  8. Too much, or just not a popular instrument?
  9. Edgley #549, dated Oct 2017, Wheatstone with Frank's accidental layout (with right pinky F#/C# button), Ebony & Bloodwood, Accordion Reeds, Fallon Hard Case. New value $3K plus. 25% off would be $2400 or so. If interested, please PM. Located in New England.
  10. I have a C/G Wheatstone Professional Model with Frank's second F# layout. #549. Interested in trading? Or, I might buy yours. Still have it?
  11. I am also interested in a baritone anglo C-G with concertina reeds. These seem hard to find. The Dipper website lists the option for a new instrument and Morse makes a baritone with accordian reeds. Has anyonefound others?
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