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    Folk music of all kinds. Photography. Gardening. Genealogy
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    Austin Texas

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Everett's Achievements

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  1. Thanks for the comments. Several likely suggestions to explore. Well, it is under warranty, so it is off to the tech. There was a lot done to this concertina. numerous repaired cracks in the reed pan, valves replaced, tuned to 440 etc. Seems like it needs some additional fine-tuning (pun intended). Very much worth it as it is a beautiful instrument.
  2. I have a Wheatstone English (1920's) on which some of the highest pitch reeds on left hand (C", E", G", B") seem a bit slow to speak, particularly the C" on the pull. Any ideas? Is it worth having an expert take a look? Humidity a cause? Valves?
  3. I had enjoyed learning to play Mandolin, but it was finding my 1920 Gibson that made me love it. The same is happening with Concertina...I found a wonderful 1927 Wheatstone M21 English... Finding an instrument that is "alive" to you is important.
  4. I play "English" concertina, one-row button accordion (melodeon), mandolin, and penny whistles. I've tried tenor guitar and liked it (frets like a mandolin). I prefer the English over the Anglo concertina (tried both). Perhaps because the English is chromatic and the layout actually makes more sense to me. (3rd's & 5th's close together on same side and bellows is used differently kind of like on a melodeon). I agree you should cut one of the string instruments. Kind of depends on what music you play. I am thinking the Dobro or the Ukulele (just as you say you have) Do you need the volume the Dobro provides? They will drown out a mandolin (as does the 4 stop cajun accordion I play). Do you play bluegrass?...Irish? To me, the Ukulele is the one that really doesn't seem to fit.
  5. Just got an email...my 1927 Wheatstone Model 21 is on the way home from The Button Box...all necessary repairs done, tuned to 440 and ready for many years of pleasurable playing.
  6. I am sure my repair tech is well aware of all the pitfalls and will do a great job retuning my 1927 Wheatstone. I find the "shop talk" to be quite interesting. It gives me a greater appreciation of the skills of every master technician in every trade.
  7. Obviously, becoming a 'Master' at tuning concertina (or accordion) reeds can be a long process. Thank you for the technical discussion.
  8. Now I am beginning to understand. It was what Mr Wheatstone was studying 200 years ago.
  9. Adding solder to the clamp end of a reed is off the table. Using any sort of glue would not have the necessary durability. But, adding a low temp solder to the tip would lower pitch and could be adjusted and fine tuned with diamond files.
  10. Interesting, but the discussion is lowering pitch by adding material at the free end adjusting with diamond files to the desired pitch ( lowering reeds tuned to old pitch down to 440.
  11. You've mentioned this in some other posts and looking to either raise or lower my Jeff duet an approximate semi-tone it seems like a good alternative to solder/scratch even if non traditional. The idea deserves it's own thread but a quick question; does adding material at the base of the reed raise the pitch?
  12. And increase by removing material from tip...right?
  13. Really does sound like a "Duet". Always amazing to think it is one instrument.
  14. There may be a misunderstanding about the tuning method. The way I understand it, the reeds are "old pitch", about 55 cents above 440. Solder is applied to bring the tone down to the right ballpark, then removed with diamond files to bring the tone up to 440. Mr Snope has done this successfully on a number of instruments. Tell me how pitch can be lowered by simply removing material from a reed?
  15. I was somewhat surprised by the cracks in the pan as well. Had it spent time in a very dry climate? I wonder. I can't comment on the tuning method. Perhaps it is simply because it is reversible? I do expect Mr Snope knows what he is doing. Regardless, it will be very nice when I get it back.
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