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fred v

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Everything posted by fred v

  1. My thumb straps are replacements and they have a nice soft feel to them but as I play they stretch and my thumbs slide in too far. Is there anything I can do to keep this from happening?
  2. Are you pulling and pushing straight out and in? I rock my left hand up and down and I can play all night without getting tired. Read this article: http://www.concertinaconnection.com/bellows technique.htm
  3. Are your bellows stiff? That will wear you out quickly if playing fast session tunes. My bellows were stiff but I used some leather softener on them inside and out and they have relaxed a great deal. Some will say that will ruin the bellows and loosen the glue but it has not done so for the past year.
  4. I removed the buttons and reeds for notes not ever used in Irish music.
  5. I recently bought a 1922 type 21A in mint condition for $2200.00. It hadn't been played much in it's lifetime so the bellows were a bit stiff. They have loosened up from use and it playes great.
  6. Here is a photo of my 1922 Wheatstone. you can clearly see where the straps are mounted. There are suppliers for replacement straps such as: https://concertina-spares.com/?v=3a52f3c22ed6 https://www.cacornish.co.uk/musical-instruments/ In the US there is: https://www.buttonbox.com/ They are going out of business but the repair side will still be there Also Bob Tedrow at Homewood Music in Birmingham, Al. can provide them. n the ends.
  7. The Repair Shop is now showing on The Discovery Channel in the US every morning. Good program but it is now in S5 so I must have missed the concertina episode.
  8. Thanks for all the comments and a BIG thank you to Henrik for the inspiration to move forward with my ideas. I bet if any of you played my concertina you would start thinking...... While thinking about this I experimented with working the bellows while depressing a button and listening to the sound. My conclusion was that the buttons have twice the stroke than is needed. So I realized that adding the plate also shortened the stroke. I had already reworked all of the action to make the buttons the same height and depress the same amount by adding felt shims to the bottom pin as well as adjusting the spring weights. That was the first major difference in play-ability and led me to the further addition of the plates. The buttons protrude a max of 1/8" so the short stroke is quite amazing to feel. To each his own. I'm just sharing my thinking and experimenting. Alex, the car is a '52 Morgan F Super 3 wheeler. I have 3 different models of these amazing cars.
  9. My first EC was a Trinity Collage 34 button and the buttons pushed down flush with the end plates. I them progressed through several Wheatstone EC's. So I have had this idea in my head for a very long time. That is to make the buttons push flush with the end surface. I recently saw Henrik Muller's web site where he did just that but by having new ends made. https://www.concertinajournal.org/articles/no-thumb-straps-no-finger-rests-but-it-is-an-english-a-personal-journey/ My idea was to make plates that fit over the buttons. What I have done is totally reversible so I have done no damage to my wonderful 1922 Wheatstone model 21. This all started by removing all the buttons and reeds that I didn't need for playing Irish music. This removed almost 4 ounces of weight; a noticeable amount of weight. At first I removed the upper 6 buttons/ reeds on each side and then went back and removed the flat notes that I don't ever use as well. a week ago I went out to my shop and started making the plates which are 1/8" thick alum. with a .010" brass sheet laminated on top of the alum. I nickle plated the brass to match the end plates. I found Henrik's dimensions of the button spacing to be just an estimate. Here is my CAD drawing of dimensions from my instrument. Here is the laminated plate being drilled Here is the end result. So, What did this all accomplish? The feel of the buttons is completely different. My brain now senses the feel of the plate and has made my touch much lighter. As I play more I will soon begin to do things like sliding a finger from one button to another with much greater ease and speed. I eagerly await all the benefits of doing this modification. Also if I find, in the future, that I use more buttons I can add them back and also make additional plates for the upper buttons.
  10. Thanks Don. I'll look at Musescore. I run ABC on a MAC with a partition with Win XP on it just for ABC and my old Autocad program.
  11. I use ABCMUS for my practice and use the Oboe for the closest sound of a concertina. I have downloaded the sound font mentioned but I cannot figure out how to add it to ABCMUS. Can anyone advise??? Fred
  12. The high pitched reeds do not pass much air so it would be a slow close. I removed 12 buttons and 24 reeds from my 48 key Wheatstone. It is now 3.5 oz. lighter which helps with my fast bellows style of playing. I stored them in 4 separate baggies marked for each side on push and draw.
  13. I play Irish on the English tina but I work the bellows to add the rhythmic punch that is so needed with ITM. Fred V
  14. Try to apply some penetrating oil carefully to the plate. Use a needle to place just a small drop where the bolt enters the plate. Let it soak overnight and then try pliers the next day.
  15. I assume you meant me. I bought this from Barleycorn about 12 years ago. It was restored and in excellent condition. I wanted it for playing backup but i hardly ever used it. I would be interested in selling if anyone is interested.
  16. With stiff dry leather the instrument isn't worth playing. It's either try to treat it or make a new bellows. Your choice. Fred V
  17. I agree with 456. I just bought a 1922 Wheatstone and the bellows were stiff. I did the same careful treatment and that softened the leather. The instrument plays very much better now.
  18. Sorry, you are correct but it sure plays and sounds extraordinary.
  19. I've never understood the Salvation Army tuning. I've read it was pitched lower than our A440 but didn't they use standard reeds just tuned to A420 or something similar? That is different than being a whole step lower as these reeds indicate. This is marked SP and it is truly a special concertina. I've owned 4 Wheatstones over the years and none of them played as easily as this one, even the Aeola. Thanks for the discussion. Fred
  20. Here are some pix of the reed pans. '22 48 key on the left. '33 36 key on the right. an interesting thing with the '33 model is that the reeds are all stamped on step lower than how they are actually tuned. The low G and High G are shown in the photos. The following are the reed tongue dimensions with the '22 on the left and '33 on the right. low G: .107" X 1.155------ .120" X 1.220" hi G: .074" X .661"-------.088" X .705" You can see the difference in the photos.
  21. Bottom note is G so a treble. Pardon my memory. looks like it is a 1933. http://www.horniman.info/DKNSARC/SD02/PAGES/D2P1310S.HTM
  22. Jake, I didn't know they used different reeds like that. I've read a lot of history and been all over the museum site but never saw any discussion on reeds.
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