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d.elliott

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Everything posted by d.elliott

  1. this type of test is not much good as a bellows test, as it tests all the pads and end gaskets as well. However your test does show a problem with the instrument. I agree with Geoff, talk to the manufacturer. One would have hoped that the concertina had been checked over before they sold it to you. If not it says a lot about the manufacturer's customer care attitude.
  2. This can be either a valve which is stiff and holding off from the reed vent. Air flow closes the valve, then it springs open again, or the reed plate is loose. Either way I don't like working on waxed reeds. I have learned that re-using existing wax is not a good idea, I get pre-mixed wax which is beeswax and rosin, I proprietary blend
  3. I had dealings with Mark only a week ago. I tend to phone him more often than not. Dave
  4. I always thought that an expressive Anglo rendition was a bit of an oxymoron, you have proved me so very wrong. Sensitive playing with a harmonisation that accentuates rather than dominates, well done indeed.
  5. I call you Stephen, with a 72K English bass, the action is Chidley, with the split reversed hook pivot post and a wire cross pin acting as trunnions on the 'fish bellied' arm. the serial is 4976 the thumbs straps and the finger slides were over 3 inches wide. I ended up doing a full restoration back in 2014. However the actual manufacturer??
  6. I bought a miniscule weight of the wire, or so I thought, and ended up with enough to circumnavigate the globe! I shall be leaving some to my daughters in my will. What they will do with it, I just don't know. I little does go a long way
  7. I am surprised that p-bronze should break as Don suggests, perhaps his stock was in a fully hardened state, I don't think I have ever had one break. I don't think that p-bronze gives too much resistance by making a too stronger spring, I am using 0.63mm (0.025") dia wire at half hard starting condition.
  8. Theo, if the reed tongues only have the coppery hue, then it is probably the reed tongue alloy, if the reed frames are also a bit pink then it is mist likely a chemical cleaning process.
  9. try using wood not epoxy. It is far more recoverable in the future.
  10. often originally a green paper that has been washed with leather dye. The dye does not take over the gold pattern, hence you have the vegetable bit and the gold lozenges and dots showing through and where the gold is worn the dye has speckled the pattern.
  11. Of course the Baritone English goes down to the G below your C. The Bass English goes down an octave lower still. Rumour has it that when the concertina band at the fishing town of Whitby play those low Gs then they open the swing bridge over the river. Just commenting ....
  12. not all accordion reeds have the plastic or wire helpers, although I did assume you were talking a traditionally built instrument. If anyone is reading this who is unsure or knows that they have a traditionally built concertina, then please store it or keep it axis horizontal.
  13. Simon, does your rather fine looking box hold the concertina with it's axis horizontal or is the instrument sat on it's end? I refer you to David Barnett's statements about valves. The old hexagonal boxes had one major flaw, and a more minor flaw. The major flaw ( happens to all instruments in the box style) was that they sat the instrument on it's end, axis vertical this seriously damages, even destroys valve operation, it can reduce the life of a set of valves by several years. The minor flaw ( happens to some) was that in some instances the instrument is not so easy to get in and out of the box resulting in bellows damage and occasional thumbs strap anchorage damage on English system instruments.
  14. You can get special screw extraction pliers, I find that they help. Oil is not a good idea for the reason stated above, but a shot of heat can help free things. Personally I think that you can do more harm by pussyfooting about. If the pliers and/ heat don't work then plan the surgery and cut out the minimum necessary to release the plate nut. Replace wood with wood, fillers and epoxies are OK, until another bolt shears off. it is worth checking to see if the bolt was bottoming in it's blind hole before, or just as it started to clamp onto the action box. Certainly check after the repairs are completed.
  15. so it is a 20 key Anglo, circa 1874, based on data from the same source. Wes was right, not a 48 key instrument.
  16. David, assuming a 48k treble instrument, and based upon the information from Downright et al, a fair estimate for # 28989 would be 1888/ 89
  17. Wicked boards to play on, and you end up with ink stained hands!
  18. I agree with Frank, photos will help. These instruments were designed to be played 'dry' of lubricants. I would start by looking at friction issues that should not be there and any minor misalignments that might add to friction forces. I think that the buttons pass through a plywood end plate. I would consider a gentle clean out of the holes to ensure there is no raised end-grain on the various layers of wood, use a drill bit of the same diameter as the hole or fine sandpaper on a dowel. Spin by hand, not in an aggressive power tool! I am equipped with tapered and parallel hand reamers but the work arounds mentioned are effective.
  19. I remember the darts nights in the tap room at the Nag, playing on a wooden 'Manchester board'. I don't remember a miniature railway back in the late 1960's. The days of my very miss-spent youth
  20. Thanks Lach74693, I did read the article before posting, by the way, I used to be in digs in Urmston when at university, is the Nags Head still going? most of my grant went over that bar. Cohen, Interesting observations, so I guess we are looking at a tenor singing range?, good for accompanying sopranos?
  21. Thanks Mike, I fully understand the need to down size, and the 'domestic' pressures the wily ones can bring to bear. Thats why I bought a piccolo, but I still have the bass.
  22. Most likely damp swelling the wood, causing the reed pan slots to pinch on the reed frames. less likely to be thermal differential expansion a 15 deg C cooling in temperature would mean that brass contract 0.000135mm more per mm of steel, and brass is round the outside of the steel. so arguably you could consider that as 0.00027mm reduction in overall clearance around the steel tongue. Not enough to take up the reed tongue flank clearances. Short of taking the instrument ends off in the playing environment, easing out the duff reeds and re-seating them, there is nothing you could do.
  23. I have an A-E concertina on the bench for restoration. No: I do not mean Ab-Eb. This A-E is a weird tuning for an Anglo, as an English player these keys are no issue, but what sort of music would such an Anglo be used for? A Maj (3 sharps) is the key beloved of fiddlers and other racing car drivers, the E major key (4 sharps) I see in some traditional hymns. This concertina has been seriously played in it's life time so it must have had a niche, but I am intrigued by it's application. The date is around 1895.
  24. Don, I have also noticed the same effect with the old hide glues, which makes me wonder if bellows made with some modern 'elastic' adhesives actually yield a stiffer product. with respect to Connolly Hide Care, I have emailed the manufacturers to ask about their view of suitability, so far a thunderous silence. If I get an answer I will post it here.
  25. I have seen bellows falling apart from the effects of leather treatments, and I have had major problems repairing bellows where leather treatment had been employed. The treatment is intended to soak into the leather, but it can release glue bonds, you end up with glue failure and component separation. Thereafter it is virtually impossible to get any adhesive to hold with any degree of confidence. your bellows, your choice, your risk.
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