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d.elliott

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About d.elliott

  • Birthday 08/08/1950

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  • Website URL
    http://www.concertina-repair.org.uk
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  • Gender
    Male
  • Interests
    ENGLISH System: including: Bass; Baritone; Treble; Miniature

    All forms of Concertina playing, but also Repair and Restoration. like to provide help & assistance as needed.

    I give talks and run workshops on repair and restoration

    West Gallery Singing & Shape Note Singing

    Traditional Music, Concertina Band Playing
  • Location
    Sheffield, South Yorkshire, England

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  1. Wheatstone 36700 is dated as February 1962. whilst 36800 is April 1964. post the full serial and we can be more precise.
  2. I did hear of a lady giving talks to the local W.I. meetings that were entitled 'The concertina in Nelson's Navy'. 😕
  3. You don't need a dedicated English Concertina book for Shantys, You can play anything in any key as you find your way around the instrument.
  4. David, I would start by trying things out and looking/ listening for other evidence: Are the affected reeds going down to the same height of 'stop' position when being pressed, as the other keys that are sounding properly? Are those keys sitting higher or lower when the respective pads are fully closed? Are there any ghost tones being sounded? are there any damaged end bolts, any cracks in the pad board? any loose of missing reed pan support blocks. Is there any evidence of looseness of the reed pan in it's bellows frame gasketing. Valve condition is important, but also look at the chamber walls, often the chamber wall can slope and catch the valve when blown open. Do the affected note all have the same size of valve, if so is that valve sizes made of a stiffer or thicker leather. Once this overall assessment is complete then you may well get some useful pointers or frighten yourself to death. With a Wheatstone or Lachenal I would doubt a design flaw like chamber sizing, pad hole diameter etc.
  5. The methodology is quite simple, there are two fixed points: 1 when the button is fully depressed, the height of the button, fully depressed is set by the damper stack under the body of the button, the little felt rings that are pierced by the button guide peg. I have seen a stack height of anything between one to five dampers being used. The number being consistent across an instrument. 2 when the button is fully up, set by the contact of the pad onto the pad board. The button pressed down height of button top over the finger plate is often set to be around 2.5/ 3mm this can be increased or decreased by adding or subtracting dampers. Once this button low point is set, then the button height is set by establishing the button travel height. Button travel is usually set at 3.2mm or 1/8th inch, or there abouts. This is done by taking a measurement of the existing travel and by bending arm near the pad until you get your 3.2mm. Obviously there are a number of government health warnings that could be issued at this point. As you do the first couple of arms, check that the guide pin under the button is not likely to come out the action plate's guide hole and jam. The thicker pads simply set everything higher and given an appropriate amount of button travel there is a risk of the lever arm gromet, or the edge of a pad striking the underside of the action box cover, tapping noisily and affecting pad security. I measure several button low heights (button pressed in), take an average. I add 3.2mm to the average and make a height gauge to suit. I can then set all buttons to the same height using my gauge as I bend & adjust each of the arms. I must go through 25-30 full re-pads a year so it is second nature now, but I can remember how daunting it was in my early days of repairing. If you can get some experienced to show you it is best. I always use arm bending to adjust travel, I always use consistent pads., and a consistent number of dampers per button. This gives an even key hight. Voicing is controlled by the original manufacturer's pad hole diameters. Often there are two diameters of pad hole, sometimes three diameters.
  6. Hi Paul, I think (based upon the data from others, 1889, or thereabouts. As to the differences between the Paragon and the No. 5, besides a 33% increase in price, the Lachenal price lists make the comment about the reed metallurgy and the quality of sound. The No. 5 is quoted as having 'no gilding but ornamented paper' on the bellows, I know that the inimitable, excelsior, nonpareil had gilding on the bellows frame wraps, I am not sure if the paragon had this feature too. both concertina models are quoted as having German-silver keys (studs).
  7. I am a simple man, I still have ties from my working days, but why not just get a good box and block it in one of the ways as discussed, no need to reinvent the wheel. or deface a valuable instrument either. General Lud
  8. with respect to strapping an instrument, using a nail or screw, Fancy doing that to an Aeola, Edeophone, or indeed any vintage instrument? Dave
  9. compressed, to enable maximum bellows sweep with little additional force over the normal playing resistance. Also periodically stretch the bellows fully open (with buttons pressed!)
  10. based upon current data 1891/1892 would be about right
  11. My first reaction was a Jones, Wheatstone reeds were narrower, both used riveted actions but the jones pivot posts had a flared profile below the rivet area. do you have a better photo of an action post on sideways please?
  12. This is not a beginner's instrument, the note names and coloured keys indicating a beginner instrument is a fallacy, especially in an instrument of 1851 vintage. The concertina's grade status can be judged (visually) more by it's end material, in some cases by the number of bellows folds, woodworking decorative details in the fretting and around the perimeter of the action box end (finger) plate, felting around the keys etc. On some higher grade instruments coloured bone keys seem to have been an option on ordering. Even on some very high grade instruments silvered keys had their 'C' keys gold plated. Lachenal & co produced some very basic instruments, mahogany ended low grade brass reeds, plain ends, bone keys etc. These were the 'Peoples' Concertinas' (see the catalogues of the day). They were not intended as student models but as affordable concertinas for the hoy-paloy, the working man. The 'peoples' model was later superceded by the 'popular' model.
  13. Hi Alan, it is very easy to play individual, separated notes on the English, most English system players do this most of the time, indeed many are scared to play any form of chordal music until they are quite advanced in their progress. The anglo has it's reversal pumping action as almost a given so the individuality of each note is emphasised. The English System has keys grouped in 3rds & 5ths, so to slide up and down arpeggios is easy, and traditional church can lend it's self to this sort of move. When you play proper 'Concertina Band' music the emphasis is often on defaulting to a semi staccato or staccato playing style. Don't forget English System players can reverse bellows for emphasis purposes. We might consider this part of bellows control.
  14. Peter, For playing, yes, but for repair & tuning, no, Each reed becomes an entity in it's own right you have to work out what notes each key should sound, and then tune accordingly
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