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Dirge

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Everything posted by Dirge

  1. Right I shall be back in Somerset in a week or so and would like to have another go at selling this. I have a forum member wanting to try it; she gets first go.
  2. Hallo folks; although I still have the 'box and want to sell it, doing so would be difficult at the moment as it is still in Wells and I am back in NZ. I've decided to leave it until next year. (If anyone is really desperate you'd better email me...)
  3. It's in Wells; but I'm on;ly there until sunday myself. I was going to leave it to deal with next year but if you can get over fairly fast pm me a phone no I'll ring you.
  4. Hallo Wolf; thanks for the good wishes. If anyone is interested in the concertina contact me through the website.
  5. Small at 6 3/4" across the flats but with 7 fold bellows and RH going down to middle C, so a really useful size and range, no. 3981 was fully rebuilt by Mike Acott last year for me but I did not really take to it (spoilt by a diet of aeolas!) so it's for sale for £1750. Donation to Cnet if it sells of course. It's still a bit stiff needing playing in, but ready to go and will benefit from being used regularly. It comes in a tin case made for a German thingy which does give it some pro tection. View/test run in Somerset, but don't leave it too long, it goes on ebay in a few days .
  6. I just happen to have a 71 key Wheatstone aeola available...it's the one I used for many of the recordings I posted here years ago, A special lightweight model, never properly played in since Richard Evans (of Kookaburrah, a duet player) painstakingly set it up. DURAL, not just aluminium, ends and frames and not corroding in any way whatsoever! 71s are the best for grown men. 81s are beasts to heave around for anyone. I've got one and have to admit I use it very little. 67s are perhaps better if you aren't so physically strong but you miss air capacity and the bottom Fs . VGC genuine reason for sale, view in Marlow. I'd better think what I want for it,
  7. If it were mine I'd play it until the alloy framed reeds cause trouble then worry about it. It may happen fairly soon but it may not, and even when one gives up it shouldn't damage anything else. Even then you'll still have the note the other way to finish the piece on.. Most repairers seem to have a store of spare reeds they can simply find replacements from. I'd do your basic recovery (as it sounds like this is part of the fun for you) then hand it over and let them find reeds and a spare button to match and tune it too. If you aim to play it yourself get the holes bushed as well, wood straight on bone rattles like old skellingtons. Wheatstone and Lach used aluminium in some lightweight instruments. Lach' ones (I think particularly the early ones) can corode frighteningly. There was an edeophone on Ebay some years ago that must have been a rather nice instrument once upon a time and coroded shoes had basically written it off. Rather sad. You don't say what notes they are. They may be a mod to add a couple of low bass notes, maybe done at the works. One is probably a D? I have a similar box (mine has brass reeds) and I don't remember a reed in the middle of the bass pan like that. I haven't had to look for a while mind you. You can do a lot with a 46. I have big duets for written music but often pick up a 46 for choice when I'm playing by ear.
  8. I agree. My appreciation of my 46-key Hayden (Wheatstone, sorry John) went up enormously after I spent some time playing the Wheatstone 82 key Hayden that showed up at the Button Box some years ago. I remember describing it (the switch back to my 46) as "like playing a jet engine." OK I think this piece of stupidity does it. Cnet has changed recently; it used to be a very broad church. Now it seems to be concerned purely with rather unimaginative folk music. I don't feel I have anything to offer, or anything to gain, so I'll go and sit in a darkened room for a while instead. Paul, Ken, thank you so much for what was at one stage a real support line; there weren't many duet players but there were at least other concertina players and through you I learnt what they were up to, got in touch with them and have made many real friends. I have got a lot out of it and am grateful. I hope I put something back too. I'm not saying I'm going for good; who knows what may happen, but I think this is quite enough for the moment. Time for a break.
  9. Good that's all right then.
  10. 'Michael Sam Wild'. Usually a fairly lively member. Anyone seen him lately? Is he OK?
  11. 12.08 on the first of the first of 2014 here in NZ and I wish you all a most sincere happy new year. (Just to make those of you in the northern hemisphere sick, I'm still in shorts and T shirt)
  12. Very nice (and very slick!) Randy but it reminds me irresistably of an early John Wayne film; can't remember exactly which but I think the US cavalry are waiting for the injuns to wipe them out tomorrow or something; there's some 'calm before the storm' evening shots and, as I remember it, you must have been playing just like this in the background. (It was probably really a harmonica really but you know how the mind plays tricks)
  13. Thanks for the ineluctable opinion, good Sir Dirge! Blimey yes. I must get round to looking it up. Roughly it means that your opinion is made of stern stuff indeed with which nature itself cannot contend. Blimey again. My man, we are living in a world full of mystery, spectacle, and the unfathomable. Blimey, indeed... Gosh.
  14. That's all good stuff and your enthusiasm is great! Your beast's range may make the piano music frustrating, you'll have to move the bass up a lot. Don't dismiss kids' music. The convention for writing it seems to be that children don't have big reaches so the music stays closer to the middle of the keyboard. Although a lot of it is painful 'Faeries Dancing In A Ring' stuff it isn't all like that. I've done well from 'Classics for the Very Young' sort of books. Then don't forget to look at guitar and, it appears now, banjo music too, as well as any other chording instrument just in case. (you too can learn to swear fluently at 'tabs'). There's no real repertoire for a duet so you have to find it. Great Xmas present. Lucky man.
  15. Thanks for the ineluctable opinion, good Sir Dirge! Blimey yes. I must get round to looking it up. Roughly it means that your opinion is made of stern stuff indeed with which nature itself cannot contend. Blimey again.
  16. Thanks for the ineluctable opinion, good Sir Dirge! Blimey yes. I must get round to looking it up.
  17. Yes good stuff. Not knowing it at all and with no 'banjo tune' preconceptions, to me it sounds like an old music hall tune and entirely appropriate.
  18. My thoughts too. Indeed I'm sceptical that the levers would bend at all. How about someone's kid (that suspicious looking cleaning lady's boy probably) poked a spike (your fettling screwdriver?) into the frets hard to see what happened, damaging the wood in the process?
  19. Certainly not the way I estimate something. Nor is it valid statistics. An example which demonstrates quite clearly that the method -- as given -- is invalid, since it's quite easy to demonstrate that the conclusion (that everyone in the world plays concertina) is false. No. "Jake's technique" (I actually thought he was being tongue in cheek) is valid if and only if it can be shown by independent means that the small sample and the larger "universe" can be expected to share a similar distribution in the variable being estimated. And the expectation of a "better" estimate from a larger sample also applies only if the distributions are similar among all the sample sizes being compared. With regard to your extreme example, it's obvious that the distribution of concertina (or Maccann) players in the population consisting only of yourself is most certainly not the same as the distribution of such players in the entire popuation of the world, or even of New Zealand. And so "Jake's technique" is not applicable. And that is supposed to be a proof of validity? In my experience, the fact that a technique is used as a basis for government policy is a pretty sure sign that it's flawed. I believe that can was already opened in one of the earlier threads on this subject. Thank you for taking all the trouble to explain, Jim.
  20. That may well all be completely true, but Jake's method is reasonable and gives a number that isn't TOTALLY guesswork, which is better than anyone else has managed, isn't it? My complete guess for "Maccan" players in the world who can hold a competent tune is 50 tops. From that perspective the number of Anglo players in the world is clearly several million... I think you might be surprised by the number of instrumentallists in Britain though. 15,000 is only one in 4000. I'd be willing to wager money that at least one in forty is actually quite GOOD at his chosen instrument. There's another start point. How many instrumentallists do we know vs how many concertina players? Does that take us anywhere?
  21. Yes but that is the way you estimate something; you find a number you know, and if the only number you have is, say, 'the people in this room' then that is what you work with. (That gives me an estimate of the entire population of the world playing concertinas as I am alone here...) Jake's technique is perfectly valid and improves his chances of getting a meaningful number. The larger the sample, the better your estimate of course. I'd have said starting with the 30,000 folks of Beverley is quite a decent sample. I bet lots of government policy is based on smaller numbers than that. As for the Wheatstone duet/Maccan thing, there was a different problem there; lots of them are owned by players of other systems who do little or nothing with them (or people who don't play concertinas at all and do little or nothing with them, presumably) and it very quickly became a list of owners rather than players. You only needed to have been seen holding one of the things to get added to the numbers, so I think it was inflated, but that opens another can of worms; how do you define player?
  22. Playing two keys with one finger (which I do quite a lot) needs them raised at the bottom, especially if you are going for a diagonal pair. Otherwise the pad of your finger would ground before the notes were properly open.
  23. I think it may have been me that asked this last time; the best fix (for me anyway) seemed to be to have a couple of the electret thingies with wires to a waist mounted control box to balance them, then a cable I could just plug into the venue's sound system; it seemed a fairly simple fix at the time, and the majority favourite I think. But in the end I put away the brass reeded instrument and acquired a loud aeola and use a single mic' on a stand. If I have my wits about me I can instantly turn the instrument end on as I play to emphasise tune or bass. The problem there is remembering to do it with everything else going on. What happens next depends on the man working the mixing desk and is a bit variable, but there's not much to be done about that. This is just a 'music club' type setting so the soundman has to work it out on the spot!
  24. I think the 'sleazebag' is unfair, Jack. (especially twice!) It could easily be a kid (or muppet) who genuinely doesn't know what he's shopping for. Most likely it is someone who DOES know, but in that case what's wrong with couching the ad to interest someone who doesn't even know what his concertina is actually called? There's no swindle involved in buying something low from someone who doesn't know its value. If he picks up something cheap, well that's capitalism in action. You know as well as I do that any bargain he gets this way will have cost the seller nothing, having found it in Gran'dad's attic or whatever. He gets it out of the mould and dust and back into use. Good luck to him for his enterprise, I say. Why insult him?
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