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Everything posted by d.elliott

  1. I also believe that the Lachenal trademark stamping was introduced in around 1879...
  2. It looks a bit new for 42,000 series, would suggest you have a look inside to check if there are other clear stampings. One under the action box, one in-between the chamber walls and one on the inside of the bellows frame. All this at both ends of the instrument.
  3. I guess something similar or a fish glue?
  4. I use gum Arabic. I make it up myself with fine granules as sold for glazing cake decorations.
  5. Doug, if there were an emoji for the 'evil eye' I would deploy it about now. In my very early days of repair, I struggled to find a leak in a set of bellows. At work, we has been leak testing a large vessel with smoke bombs, it worked. I decided to fill the annoying bellows with smoke from an incense cone. I did not find the leak that way, but the instrument was sweet to play.
  6. Scotch tape on the valves in a traditional concertina reed construction, are you sure?
  7. There are several concertina specialists in the UK, look up 'Concertina FAQ' in google
  8. Delrin is actually a nylon type product, it does not need lubrication. What type of concertina do you have?
  9. Matthew, English system or Anglo system of concertina? there were two parallel series of serial numbers. If you are not sure then post a pic of an end, or quote the number of buttons on each end.
  10. it is certainly far from good practise to do a major re-tune and not change the valves first. Even if the valves seem OK and have been changed over the last few years, I would change them anyway. Valves have nothing to do with air tightness, air efficiency- yes. Air tightness is more likely pads, and/or springs, worse still bellows. How did you decide that the the airtightness is a potential issue?
  11. If you are having your Wheatstone M#21 concertina re-pitched to A=440hz, I hope that the job includes changing all the valves...
  12. Certainly re-voicing a reed makes it flatter, not ever sharper. The degree of change can be a couple of cents, even more, subject to the amount you have to change the reed tongue gap. It is worse if the voicing loss is due to reed tuning. If it's a running repair circumstance you could get away with it.
  13. The Mayfair are grand little instruments idea for improver level and as back up instruments. Robust, light weight and tolerant of most things. They are accordion reeded, but the reed blocks are clamped not waxed. At the time Wheatstone seem to have imported 'ready tuned' reeds, then fitted them and sent the concertina on it's way. The result is that the tuning is a bit variable and usually a bit sharp. Probably not enough to worry private play or play in open sessions. In my view, and I have about five on my maintenance list, they are a worthwhile instrument, generally easy to look after. Down sides: the reed block finger clamp post holes are tight, I ream the outer clamps slightly, but only when I take a reed block out for valve, or tuning work. Changing pads can be fiddly as a result of the unique and fairly clever pivot design/ key arrangement However how often do you change pads or adjust tuning on a good make of concertina.
  14. To too uncommon, a bit of re-badging on someone's part. Arguably it all adds to the history and the interest. I personally think that some of the Jeffries are crudely made and as instruments they did not have a lot of merit. Whereas the Lachenal and Wheatstone were made by craftsmen, and have the consistency that the care and attention yielded. I hope you did not get 'stung' in the acquisition price.
  15. I too have seen the wood screw solution, and also wire 'staple like bridges' that pass over the reed concerned. I have not seen the wooden block, probably because of space constraints. in this case the wire bridge would work, but I like the wooden block better
  16. weak spring is the first thing to eliminate, also check that nothing is catching around the pad. Check also key height is even with those around it, but the spring is most likely culprit.
  17. To smooth the leather I find the thumb works better than anything, and it's kinder to the leather finish
  18. The airflow through the instrument allowing things to even out might also have helped too, nothing like playing a concertina to keep it in god condition
  19. The process is called binding, 'top binding' to be more precise. this is a strip of leather which is about 18mm wide, and about 0.6mm thick. However it does not stop there as both flanks of the strip of binding are skived over around 5mm each side on the underside of the leather. This skive leaves around 8 mm of full thickness down the centre, and tapers off to around 0.22mm thickness along each edge. This double tapering of the cross section of the binding makes for a stretchy strip with less leather bulk along the edges. I apply adhesive along say 100mm of the binding at a time, then stretch the binding along the top of the flat of the fold but without full pressing the skived area down. When I get to the corner between two flats I continue round the corner and part way along the next flat. I smooth down the middle third of the length of binding, both sides, along the two flats either side of the corner leaving the corner binding flanks still standing off the fold/ gusset faces. Finally I smooth the binding down over the gusset on each flank spreading the excess bulk of the leather back along the fold flats. This distributes the bunched skived edges back along the corner radius and part of the flats. Thus there is no need to do anything fancy with the binding over the gussets/ corner
  20. Concertinas were made before central heating, never mind air conditioning. Homes were heated by open fires, and condensation ran down the single glazed windows to form pools on the window ledges. This current humidity is not likely to cause condensation in the instrument, maybe some wood might swell very slightly however I don't see this as being any different than normal usage in the late 1800's early 1900's. If you were taking your instrument abroad to places of extreme cold or extreme heat I might be more concerned. Dave
  21. From the number and other listings probably around 1908
  22. Greg is very good. However your first choice may also be good too, have you talked to him about his materials and how he tunes reeds< what tuning tolerance does he work to? If he says +/- 0 cents, then forget it.
  23. The stamping on the flank of the palm rest is the Lachenal trade mark. I don't see the STEEL REEDs Stamping above the trade mark on the top of palm rest, so I assume it is brass reeded. You have a 20k Lachenal brass reeded Anglo, of a good grade but sadly in need of at least servicing to make it playable. If talking to a buyer I would suggest, and if the bellows are good, a budget of say £250/300 for servicing, plus the same again if new bellows are called for. In full fighting condition a brass reeded 20 key Anglo might be bought for £500/ 600. This assumes that the concertina is in Concert pitch A=440Hz. This may not be true, and if the instrument needs re-pitching, your service cost starts to look like a full restoration cost.
  24. Repairing and tuning a traditional concertina is very different to an accordion or melodion. Especially the techniques around tuning adjustment and reed work. Accordion repairers use scrapers, or dremel type grinders. This sort of approach can do significant and irrecoverable harm to a concertina reed. the valve leathers and shapes are different, I could go on. I don't know the chap you mentioned, and I am sure he is a fine craftsman, however do check that he is also a concertina specialist and knows his way around a traditional instrument. The phrase you use is 'all free reed instruments' this worries me on your behalf.
  25. Hello Michael, I wish you well of your zoom session, but like my friend Paul, 2:00am is a bit too early. I wonder if we reverted to to a flat earth then things would be easier?
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