d.elliott

That's right Stephen, I have seen it used on some of the modern repro-concertinas, and on some of the East German stuff but not on a Lachenal. I guess there was a lot of prototyping going off in Louis camp at the time, he would be going through a productionisation process. What is interesting is that there is no gasket built in between the pad board and the the casing, but the wood working is so precisely produced. Dave.

Hi Downright, I have a very early Louis Lachenal come in for restoration, I have never seen a Lachenal with this form of action-box casing design, and other than some terribly butchered thumb-straps, and a bit of dirt it is original inside, pads, crinkly valves, the lot. High quality brass reeds, rose wood ends original springs and serviceable, but tappy pads. The Serial is 8459. Would you advise what your database would indicate as an approximate date please? I am guessing around 1864, around the start of the American Civil War, which rather puts the instrument into a historical perspective. Many thanks Dave

Thanks everyone for the book recommendations, one thing I would add: part of the purpose behind the book was to let people know what they were getting into before they pick up the screwdriver. To allow people to judge their own capabilities with respect to what they are taking on. Dave

I use a very basic mechanical dial tension gauge with a dial in gf +/- 2.5 gf. it's range is 0 to 155 gf. I fitted a simple non slip tip made from soft plastic tube. It is not over complicated but I can at least use it as a comparative measure to identify and rectify overly weak or strong springs. The easiest way to make basic pressure adjustments to key pressure is to bend the spring to make it hook onto the lever arm closer to, or further away from the arm's pivot post. I agree with Geoff's figures of 60 to 100 gf for most instruments. I am currently working on a 64 key Aeola tenor treble. that is set to 75 gf when the key is in stationary in mid travel, This pressure accommodates pads 18 mm down to the 12 mm, the rest being done by spring position. Dave

I would try fitting brass reed tongues. if the tongue fit is good, then response is not too badly affected, or you could try tempering back the existing reed tongues to soften them around the belly of the reed, obviously they will drop in pitch but should be able to be brought back to where you need them.

I am surprised at the comments about reeds coming adrift when shipping to the US from Europe, if the reeds are correctly secured, part of a basic service, and the concertina is properly packed for the journey, then the only worries should be costs (shipping and insurance), and US customs -Cites Legislation. I ship concertinas around, without reed falling out issues.

I own a refurbed Jones 26 key Anglo and it is a very successful instrument

I have started using DPD, with a separate insurance through Securus

as long as there is no significant air escape around the frame, I would not worry about it. You can do more harm than good by trying to get back to a 'flat'surface'. I would guess that most frames relax like this after machining.

I spoke to Mark a couple of days ago, he seems in good spirits and if fulfilling orders.

I can see that your concertina is rosewood ended, that will take some of the brightness out of the tone, I don't see any baffles, the big question is the reed tongue material, steel or brass. If steel, and you want more brightness and "cut'' to the tone then you are looking at a metal ended instrument, if it is absolute volume,then you are looking at a long series steel reeded instrument, like an Edeophone or an Aeola, assuming you want a traditional instrument, not a modern reproduction instrument. Again metal ends will help. ITM is not a term I have heard here in sunny Yorkshire, I am guessing Irish Traditional Music? Hence a assume session play? A steel reeded instrument would be effectively mandatory, and metal ends a great help. I would check with Greg, A good bloke, very knowledgeable, he might know of your instrument's reed type, if you do not. The build standard evident from the picture is for a better grade of instrument, but it may still have brass reeds.

Pleased to read that you have the issue resolved.

I dont see how Greg's suggestion would account for the the volume only on the outer rows. and by 'outer rows' it would imply the outer row on each end of the instrument. Although I have no better option to offer. It sounds like a reedpan/ chambering design issue on this specific instrument. Is it a particularly early model?

I have worked on several full bass , (G Bass) Wheatstone concertinas over the years, all single action. Amongst the concertina band fraternity in the UK these instruments are quite common, although my own G Bass is a Lachenal. As an aside; I believe that there were a series of very big Wheatstone G Basses, of which only a couple survive. I did work on one of these. It lived in a large box which had a cushion on top like a bit of furniture.

Well done Alex. What's your view of using aluminium in place of the brass, not so easy to machine but an awful lot lighter in weight? Dave