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About JohnPeter

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  • Interests
    Irish Music, Making and Repairing, Stone Carving, Bronze Work, Blackwood Flute, Whistle
  • Location
    Manchester, UK.

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  1. Many thanks for the responses. Much appreciated. I had a chance to open it up again yesterday and have another look around. I also reset a couple of reeds while I was at it and it now sounds even better! Paul, I see what you mean re the reeds. The metallurgy is different to the heavier accordion reeds I have I think from the same era. They are finer and much more akin to those in say a blues harp. The accordion ones are quite industrial! Stephen, thanks for noticing those marks. I too was hopeful but ... on inspection ... it is ink overspill from when the maker was
  2. Hi Paul, thanks for the reply. I thought it might be from that region. I have a German button accordion that has a similar feel in terms of construction. I wish I could claim that I had installed those buttons 🙂 I think it has been worked on before though so it might have been last time round. It had quite a bit of use in its lifetime. It was played a lot! The way the reed plates are fitted is interesting. They are sealed with light string and heavier turn pins. The accordion has thinner pins and it waxed so I did wonder if this indicated an earlier design.
  3. I was given my Great Grandmothers concertina recently which I have really enjoyed rebuilding. It’s nice to hear it play again. Can anybody help me with its age or possible maker? I have attached a couple of pictures. It’s a GD Anglo and it has 2 reeds per note separated by an octave. There are no makers marks. I would really appreciate any help. I know it has been around for a long time and it would be nice to put it in context with her life. Is it early or mid 20th century? Thanks
  4. Picture of improvised tuning table below. You can see the white reed plate mount on top. Made from some foam board I had lying around. The complete reed plate goes on top of this mount over a single hole in the table. The mount is sealed with fine sticky backed foam tape top and bottom (the black line). This gives a pretty even pressure/flow rate across the apertures and allows a full 20 note plate to be sounded/balanced. Same done for concertina. I terms of tuning you will have read all the advice (all good) but just in case it helps here is what I did ..... excu
  5. Hi BrianJ, replacing the first one is the worst. The next four will be easy I only had two that had actually broken and needed replacement. The rest were recoverable. What surprised me was how robust they were as long as you took care not to pull them about too much. Most just needed cleaning and resetting. In terms of tuning it was the first time I had tried it and it is pretty easy. Like you I read a lot and then I practiced on an old reed in a old reed block. I use peterson tuner on my iphone. You do need a set of bellows set as a tuning table but the first time round I use
  6. Just read this topic. Hope this helps. First post by the way. I have just rebuilt my Great Grandmothers concertina. Just finished tuning and setting the reeds today. It’s an old German Anglo 20 button with 2 reeds per note (octave). Suspect it was quite reasonably priced when new and similar to yours. No idea of the age but old .... suspect from Saxony. The construction is very basic but it sounds good to me now it’s tuned and set up (which has taken a while). Seals well. Anyway I had to replace reeds and I thought I would post in case it was of interest. I used old German acc
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