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david robertson

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Everything posted by david robertson

  1. I only get 3 or 4 Jeffries a year passing through my hands, but I don't recall ever having seen one with 'C. JEFFRIES MAKER' stamped in a san-serif typeface like this one. Another curiosity is that it seems to have 5 screws securing the bush-board, rather than the usual two. Is it a bit naughty, or just a type of Jeffries that I haven't seen before?
  2. Yes, I know it's unusual, but no, it isn't a mistake. This very rare combination of keys is how it was made, and how all the reeds are stamped. I'm told that it might be quite useful for anyone who likes to play along with Irish pipes, but I also find it a lovely choice for song accompaniment. It has had my usual comprehensive restoration, including new 7-fold bellows, straps, pads, valves, bushes etc. I have stripped and French polished the woodwork, and although the ends look as if they have been replated, in fact they have simply been re-polished by my ace metal finishing man... thanks, Kevin! It is tuned to modern concert pitch, and plays as a Jeffries should - fast, bright, brash and fearsomely loud. If you're within a gnat's crotchet of Norwich, you're more than welcome to come and have a squeeze, or if you have a question, just call me on 044 (0)1603 702644 or drop me a message via this site. Price: £4500
  3. The serial number is 125981. And by the way, I forgot to mention that it's in C/G. On the subject of dating, I'm not sure whether your database covers only Lachenal Anglo's, but in case it also includes English models, I sent you a PM last October, which you may not have spotted, so here's the gist of it again: "I just spotted a Lachenal treble in an auction in Felixstowe which I hope will make a small contribution to your dating database. It comes with its original receipt, dated 11th March 1919, and the serial number is 57772." All the best, David
  4. I'm selling this one on behalf of a regular customer who is thinning the herd a little. It has been through my usual restoration process - new pads, valves, dampers, bushes and straps, plus tuning to modern concert pitch. I have not, however, refinished the woodwork. There are no cracks or breaks in the fretwork, but what you get is the patina that arises from a century of music-making. I have re-bound the bellows, treated them to a new set of green and gold papers, and shimmed the end seals to keep the instrument beautifully airtight. The result is a lovely player, and very good value at £1700. As always, you're welcome to come and try it if you're within striking distance of Norwich, or call me with any questions on 01603 702644.
  5. Thank you all for your input. My strong inclination is to leave it in its original keys. If it takes a while to sell, I'll use it to sing with... G is sometimes a bit of a stretch for my ageing voice! Mind you, singing with any Jeffries can feel more like a contest than a collaboration!
  6. I have just acquired a 30-key Jeffries which turns out to be in the keys of B/F#. Stranger still, it is pretty close to modern concert pitch throughout, though the reeds look original and untouched. So here's the question: I'm reluctant to tune it up to C/G, but would anyone want it in its original tuning, or should I take it down to Bb/F? Any experiences, opinions or expressions of interest gratefully received.
  7. If you do decide to replace the bellows end seals, bear in mind that the edges of the new chamois will be visible, unless you also re-bind the ends of the bellows. When installing the new chamois seal, cut the chamois strip a little wider and longer than required. Glue the inner surfaces of the frames first, install the chamois strip, and cut the overlap so that the ends meet. Before gluing the mating surface of the frames, use a hole punch to cut the holes in the chamois for the end-bolts. Then glue the edges and stick the chamois down. Finally, turn the bellows over on a cutting mat, and with your scalpel or craft knife, trim off the surplus chamois.
  8. This is a good mid-range Wheatstone (No. 32676 - 1931) which I recently took in as a trade-in. It was already in good playing condition, having clearly had new pads and valves fitted in the not-too-distant past. It has a fine set of reeds, and is fast and bright. In fact, I have done almost nothing to it, apart from checking through the tuning, so I'm happy to offer it for £1250 - very little more than I paid. As always, you're welcome to come and have a squeeze in Norwich - just drop me a PM, or call 01603 702644.
  9. Now sold via my website, and off to a new home in Florida.
  10. Hopefully, new pads would be thicker than original ones, so the button would be lowered, not raised. But the pivot post is the most likely culprit... either excessive wear, or coming loose and rising from the base board. If so, pull it out, apply a little dab of glue, and tap it back into place.
  11. This is a very nice example of a Jones Anglo, with riveted action, and a proper pad and lever arrangement for the air button, rather than the crude "trapdoor" device found on lesser Joneses. (This is definitely one of the Joneses with which the others should have kept up!) It is newly restored, with new pads, valves, phosphor-bronze springs, dampers, bushings and straps. The bellows have had a cosmetic re-bind and a new set of correct Jones gold-on-black papers. Finally, it has been tuned to modern concert pitch. In my view, it represents a big step up in quality from, for example, a mahogany-ended Lachenal, and it performs every bit as well as a rosewood-ended one. I'm looking for £1750, and as always, if you're within striking distance of Norwich, you're welcome to come and have a squeeze.
  12. Where's the puzzle? The layout diagram shows 'in' and 'out' notes separately, but it seems to be a Bb/F Anglo.
  13. When I used to play for the Morris, I found that a simple plastic carrier bag solves the problem. Simply insert hands through the bag handles, and play the concertina inside the bag.
  14. Personally, I put them in a little net bag and bung them in the dishwasher. Then I use the Dremel to spin them on a waxy cloth. Excellent results, minimum effort... what's not to like?
  15. Here's a bit of a rarity - a fine 30-key Jeffries in one of the less common key combinations. It still has the famous Jeffries bark, but think Rottweiler rather than poodle. Of course, it could be tuned down to G/D without much difficulty, but I thought I would offer it first in its original keys. It is comprehensively restored, with new pads, valves, dampers, bushings and straps. The woodwork has been refinished in French polish, and I have made and fitted new 6-fold bellows, with new chamois seals, so the instrument is impeccably airtight. As always, you're welcome to try it out in Norwich - just send me a PM or call me on 01603 702644. I'm looking for £4500.
  16. This instrument has now found a new home in the west country.
  17. A choice of two top-quality, newly restored extended treble instruments. The first is an ebony-ended Aeola, No.28531(1920). A lovely player, and not quite as strident as the metal-ended variety can be. The second is a Boyd Lachenal, a rare instrument made specially for Harry Boyd, who ran a major music retail outlet in Newcastle. As always, the name "H Boyd" is worked into the fret pattern, and at Mr Boyd's insistence, the instrument is no bigger than a standard 48-key treble. Both have new pads, valves, bushes and straps. The woodwork has been refinished in French polish, and both instruments have been tuned to modern concert pitch. I'm looking for £3000 for the Aeola, and £1750 for the Boyd. As always, you're welcome to try them out in Norwich.
  18. Inspired by the rising of the sap, the bursting of the bud, and my bank manager's preference that we revert to the customary arrangement where I lend him money, I am now offering this rather lovely 64k Aeola tenor/treble (29691) at just £3250. It has been comprehensively restored, with new pads, valves, bushings, dampers and straps. The ends have been re-plated, the bellows re-bound, and the woodwork stripped and refinished in French polish. Naturally, it has also been tuned to modern concert pitch. In 15 years of restoring concertinas, this is probably the best example of this model that I have seen. And with £500 off the original asking price, there may never be a better time to buy. If you'd like to try it out in Norwich, just send me a PM or call me on 01603 702644.
  19. Another couple of bricks... Here is the existing layout for the rather lovely 38k Jeffries I'm working on at the moment. Anyone spot any logic in the arrangement of the accidentals? Another curiosity is that on the left hand, innermost row, nearly everything has been shifted one place to the right, compared with Geoff's "standard" layout.
  20. Sorry to bother you again with this David, but if you do get a moment to reveal what notes your 39er has on the "the single button of the extra row (the button exactly on the middle of the fretwork on the RHS)" (Gary's RH 7c), I would be very interested. Cheers, Adrian Sorry to bother you again with this David, but if you do get a moment to reveal what notes your 39er has on the "the single button of the extra row (the button exactly on the middle of the fretwork on the RHS)" (Gary's RH 7c), I would be very interested. Cheers, Adrian My apologies, Adrian - I missed your earlier post. My 39er is set up with an A4 drone on that single button nearest the right hand.David
  21. For what it's worth, my own 39er has the high F# in the 'normal' position!
  22. Adrian, John tells me that the wandering F# appears on two of his own Jeffries, and on two more owned by our mutual friend Rod Ward. Here's what he said: "This configuration allows the home position to be held whilst playing a complete RH octave using all 4 fingers of the RH. By home position I mean that when playing in C maj the index finger is on the C/B button, the middle finger is on the E/D button, the ring finger is on the G/F button and the little finger is on the c/A button. Normally I would move all 4 fingers up one place to play the high B (pull with the little finger), but it could be played with the middle finger by dropping down to the G row and pushing instead of pulling. This means that the home position can be retained whilst playing the complete C maj scale.Assuming this were to be your preferred way of playing the scale it might then be also preferred to use this same pattern when playing the G maj scale on the G row. This would mean having the 7th note of this scale (F#) on the push of the single button of the extra row (the button exactly on the middle of the fretwork on the RHS). Quite why though the F# pull on the G row is then replaced with a G# escapes me unless it enables easier playing in the key of A maj." This seems like an eminently plausible explanation, though it can only apply to 39-key instruments. It also demands that the innermost button should be arranged F#/F (press/draw), whereas this one is the other way about. Still, it's an easy switch. Finally, the G#5 in the corner where the F# should be looks perfectly normal, unweighted, and appropriate for its slot (see attached pic).
  23. I'm quite sure that the layout is original, Adrian. My friend John Warren has pointed out that it occurs more often than you would expect in untouched Jeffries instruments. In this case there is at least an F# available, on the sole button in the 4th (innermost) row. I did come across something similar last year, but in that case the F# was replaced by an E natural, and there was no F# available anywhere. The owner was adamant that I shouldn't change anything!
  24. This rather pretty 38-key Jeffries has, I find, the initials HG stamped into the left hand end only, under the wrist bar where it would never normally be seen. I wonder if they might be the initials of the engraver? After all, if I had done the engraving, I'd have been pretty pleased with myself - wouldn't you?
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