d.elliott

Imc, I previous threads there has been discussion about the tolerance in tuning concertina reeds, just what the human ear can detect and what is reasonably do-able with a file, ear and meter. In the English treble effective range most repairers agreed that plus or minus 2 or 2 1/2 cents from nominal is the most we can allow ourselves. Obvioulsy you pay for 'grade' which includes precision of tuning. Having said that, what you have is not fit for purpose, and should be returned to supplier. Don't fiddle about with it, you might allect your warranty rights. Dave

Well done Robin, nice bit of constructive deduction and observation. regards Dave

In support of Geoff, Of my own instruments most now have the F nat instread of G#, this simply provides a good root note for playing in the key of F Major, and a useful note for playing in C and even Bb. My Aeola treble and my baritone were both made like it, as was one other treble, and a have converted one other as well. I have provided conversions to others a couple of times, and on istruments for service & repair ithat low F nat is far from uncommon. Usually it is achieved by weighting the reed tips, rather than weakening the reed by filing down the centre area. Dave E

Image sent earlier today. Did you receive it Dave? I got your image thanks Theo, and it will be helpful, but Paul; I never saw your photograph, I can only assume it got filtered somehow, do you want to try a re-send to my home email? thanks gents Dave

Dave, somewhere I have one, but its got buried under a pile of melodeons! Theo Seek and ye shall find, PLEASE!! otherwise, you know the definition of 'perfect pitch', a melodeon into a wheely-bin at 10 paces! then you'll find the concertina Dave

Does no one own a Lachenal with the gold on black design incorporating the 'L' ?? hopefully Dave

Cross bushings, section 5.5.2 in The Concertina Maintenance Manual Alan These are absolutely essential to the positive action and smooth playing of the instrument. Looks like you have another job to do, at least its easy to do whilst the pads are off. Only moderately exasperating with the pads fitted! Dave

Some of you will have my posting on the construction & repair forum, and that I am trying to improve the range of high quality replacement papers for restorer's & repairers. I need a good photograph or scan of the 'gold on black' Lachenal 'L' pattern, can anyone help please?? thanks Dave Elliott d.elliott@virgin.net

Alan, are you talking about the cross bushing through which the lever passes, or the action cover bushings theough which the key slides? Dave E

Another little tip if you are only inlaying a small bit of missing fretwork. Find a bit of the correct wood, matching grain, thickness, colour and grain orientation as well as may be practicable. Cut it to form a patch over the damaged area say a triangle, rectangle or whatever. Polish the top surface wih several coverings of clear ladies nail varnish/ stengthener. This is very high gloss, so flat or matt it back to a decent sheen match with the area itis to fit in. Inlay the prepared patch of polished wood into the fretting, yes as stated above, dovetailing in at all contact points and both glue and reinforce these contact points with the old fretting. Allow plenty of time for glue to dry, and make sure that surfaces are level and matching. Then fret-saw out the design as was the original, and blend in curves etc with a very sharp knife Finally dodge in joints and sheen using stopping wax or by matting back with 0000 grade wire wool impregnated with hard wax (as necessary). For small areas, and with your own patience this all works nicely and avoids a full re-polishing/ finishing exercise. I should not say so, but the antique restorers are past masters of cosmetic cabinet making repairs................................

Dave I think the silence from myself (and others?) is because the available papers cover a high percentage of the instruments needing overhaul. I'd agree that a plain black "paper" would be the next most useful. I'd also be interested in papers that were available die-cut rather than on sheets that have to be cut out by hand. Theo, I agree that there is a range of papers, but I am far from happy with the quality and extent of he range: The dot & cross are only good for basic treble sized instruments, and the printing is often blocky, and some are pantone not true metallic. I now have full sheets printed in true gold that can also be sized to suit baritone and bass instruments. The green & gold 'fancy' is adequate, but to my mind crude compared with the victorian art work. The Daisy pattern, the Lachenal 'L', the Chidley floral. the Case, and the gold on black lozenge, the trellis, have all disappeared. There are good supplies of the Jeffries varients. My ambition is to try to revive the designs of the more useful ones like: the Case. the Wheatstone daisy, and one or two of the others. Its interesting and skilful work that I enjoy, but I hope that others can benefit from the exercise as well. Hence my query, what are people looking for? I am planning (gold on Black): the lachenal L' The Daisy, the dot & cross, maybe the Star plus (Gold on White): the daisy; The star, maybe the floral Chidley I already have a very good A4 versatile sheet of dot & cross. I have nearly completed the artwork for the victorian green, gold & black 'fancy' I am also looking for research material, particularly origina examples, or photographs of any interesting papers. I am particularly looking for a photo or example of the Lachenal 'L' paper (gold on black) regards Dave

You are forgiven, particularly as the original topic seems to have attracted a thunderous disinterest! Dave

I make a form of plastic wood out of sawdust of the right type mixed with PVA which is nice and maleable, and used for gap filling; but superglue? This I don't feel comfortable about. Perhaps its an age thing? Dave

I don't know how the other repairer's go on, but I find the limited range of good quality replacement bellows papers quite frustrating, I hate having to fit a different designs to that which were originally fitted. Over the last year or so, I have been experimenting with different paper specifications and have now got a printing company who can reproduce the colours I want, and print in proper gold, not a pantone. The designs I have reworked are the inevitable dot and cross, but as a full sheet so that any size an be cut out, baritone, base, picolo or treble, and the Wheatstone 'daisy' which will be gold on black as well as gold on white. I have also finished the green and gold aspidistra design, but based upon a Victorian original. However I am not sure which others to do, I work closely with David Leese and he has plenty of Jeffries. What does the team think? the Childley floral? The Wheatstone stars? The Lachenal Gold 'L' on black? any others? Eventually I want to have a top quality range of all the common papers, so that repairer's restorers, and owners need not be forced to compromise. Does anyone know of anyone else who has done this? Dave E

Don't worry about it, 'Faint heart never won a fair lady' as the song goes. I have been repairing for quite a few years now, and I think I have only broken two arms (concertina that is!); in both cases there were flaws from original manufacture. When I get really busy, or she is broke, my daughter pitches in to help, she is now just seventeen, and, over the last couple of years or so, she has re-padded a dozen or more instruments, setting key heights, changing springs and replacing cross bushings as necessary. Read the book, make the tool and always make sure the key is pressed down as you bend the arm. Go for it! p.s. We will have to become Elliott & Co soon Dave E

Please be careful about the application of superglue, it embrittles most organic materials, whereas PVA is a lot easier to work with. I understand the application in this case, but I would usually try anything rather than superglue Further more, I am not sure of the 'life' of such a repair, how long does superglue last before it starts to break-down? I personnally would inlay fresh wood, or blend the defect out. Actually I probably would not do either, I value the patina of age, use, and honest wear and tear. Dave E

Dan, Bending arms is the correct technique and is nearly always necessary, you cannot guarantee the lever arm grommets, or the pads are going to be a direct replacement to yield an even key height accross the instrument (assuming perfect replacement parts). The pads you are removing will have compressed over time, even if they are not damaged, so are are not a representaive sample. You need a consistent key height of around 3mm, 1/8 ins to get the proper pad lift without too much key travel. You also need a soft landing onto the pad board seatings, and firm felt that will not slide in use. Surely the first objective is to get a good playing instrument, consistent with it's original specification, the second objective is the museium piece approach? Dave E

Excellent album, John. Now all you need is a Jeffries Duet........ Regards, Peter. I have a friend with a 50k Jeffries Duet that he wants to sell.................... Dave

They a a lot less flexible with continuous card. OK for cheaper concertinas, but IMO not suitable for anything of reasonably good quality. I've had very good traditionally built bellows from Wim Wakker. I agree with Theo that the continuous card bellows are less flexible, and they do take longer to break in, the separate card self-fit kits from David Leese, are a very good mid quality option at an affordable price. To get the very best quality from any of the manufacturer-repairers, you will probably be double the cost of the Leese option, and have your instrument out of commission for some months Dave E

Cutting holes in ladies underwear? humm...... I would need more than dust protection! I would suggest that fish-nets are too course, and the others too shear, and all too stretchy, now pop socks might be safer. Dave E

I believe the recommendation that comes with the gauze is for using spray mount, and elsewhere I've seen double-sided tape recommended. I think PVA would prove to be very messy & very permanent. Also very important to do any of this well away from the rest of the instrument. Spray mount!!!!!!! I hope not: Think of the gummed up key bushings, muck & crap in the fretting! I forsee the next flurry of activity will be for solvents that don't attack polished surfaces and bushing felt. can you advise how you know you got the right colour and mesh size? Dave Perhaps everybody should hold off actually applying the stuff until a bit of research indicates the way it was originaly done. Spray mount has it's place, but not on any part of your concertina. Maybe Geoff knows something about this process. Dana Baffles were usually mounted onto cork or thick felt point blocks, that bit is easy. Gauze was mounted direct to the underside of the fretting, as far as I can see it was direct onto thinly spread animal glue which has got to the tacky stage, and then worked into the glue layer, probably with a thin coat applied later on top. Care was taken to make sure no glue got too close to the finer fretting edges, and not at all close to the action box key bushings/ holes. When I have fitted gauze I have used PVA in much the same way Dave. Oh, I got my gauze from my wife's favourite textile & dress cloth shop, the gauze is stocked in many colours, - to do with hats , brides , & goths , or so I am told ! The mesh size is always a bit of a compromise, but you can only get what's there to be got. D

I believe the recommendation that comes with the gauze is for using spray mount, and elsewhere I've seen double-sided tape recommended. I think PVA would prove to be very messy & very permanent. Also very important to do any of this well away from the rest of the instrument. Spray mount!!!!!!! I hope not: Think of the gummed up key bushings, muck & crap in the fretting! I forsee the next flurry of activity will be for solvents that don't attack polished surfaces and bushing felt. can you advise how you know you got the right colour and mesh size? Dave

Nicely done! but on the subject of reed pan fit, it may feel tight, but just check that its tight accross all flats. Shrinkage on both pan and frame can give two imperfect hexagons. Also remember that the gasket compresses with time, and that when you glue the 'skirt' into place it stretches a little and pulls back into the bellows frame; at this stage it should be almost too tight all the way round. This is why I use gum arabic so I can lift an area and re-pack as needed. Dave E

Jody, very hankie flapping if I may say so! I tried to print the dots, as I am not an ear'ole learner. unfortunately I can only print the page which makes the dots too small for practical use. Dave E

My approach to this sort of thing is simple, 1. if the wood is strong enough to support the reed then concentrate on any air leakage, if not repair and pehaps let in new wood. 2. if air leakage is suspected then glue a patch of brown paper into the vent side of the missing wall, making sure that after the glue has gone off the upper & lower edges of the paper are trimmed off so that they do not foul either reed frame on one face, or the seating of the valve on the other. remember that this is an OEM's manufacturing fault, and it has worked for say, 80, 90 , 100, perhaps 120 years. if it isn't actually broken, why rush to repair it? Dave E