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Christian Husmann

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Everything posted by Christian Husmann

  1. Just curious: in the ledgers you’ll find both Tortoiseshell and Shell, sometimes on the same page. just two words for the same material or is there actually a difference? 🤔 Christian
  2. I thought I’d give it a try and post something here… the second tune is one of Simon Thoumire´s if I remember correctly
  3. Hello, visiting Jürgen Suttner‘s workshop is ever so fascinating! Walking through it you see instruments at different stages of the making, starting with a pile of wood and metal down to almost finished instruments. greetings from Münster as well Christian
  4. Hello, I’ve already contacted your dad and packed one but still hesitating as I haven’t understood the new regulations yet... Christian
  5. I’ve recently acquired an instrument and a tobacco/ cigarette smell is definitely noticeable. It’s getting a lot better by leaving it outside of it’s case and changing the case. I had a spare one as it’s previous one had the same smell. but it’ll take time
  6. Oh, I’m sure you’re going to enjoy playing your new instrument, have fun!
  7. Hello Gail, yes, it sometimes happens with the very high or very low notes. As you said, you’ve got to be creative. Some play better on the pull or push, if the notation allows it you could try to push that button earlier down as you’d normally do. best wishes
  8. Hello Maarten, interesting question. And a question that should be asked more often as yes, the concertina can easily be learned and therefore doesn’t need a lot of tuition like other instruments. But I’ve got the feeling that the most important part of the instrument doesn’t get enough attention. Depending on the music it’s worth to try out different ways of bellows directions: If you’re playing a long phrase at the beginning it’s sometimes useful to open the bellows and start pushing to eventually have more air for the than uninterrupted phrase. Putting on emphases has been mentioned before and yes, you’ve got more control with more closed bellows. And more than that articulation is another important part: Having a bit of pressure before pushing a button down gives a nice emphasis whereas when you push the button and than start moving the bellows you get a nice and soft beginning. Same thing for ending a note. Leave the button pushed down and the sound disappears softly, a quick release creates the opposite. Triplets can be played by using different fingers sometimes it is useful to keep the button pushed down and to do a quick change in bellows direction. Maybe it’s worth to take one or two lessons given by an accordion teacher, they might be useful … best wishes
  9. Thank you, it’s a fine Instrument. Beautiful to look at and a joy to play
  10. Hello! does anyone have an idea what gauge (?) in the Wheatstone ledgers is standing for? thanks Christian
  11. A decent Lachenal could do the job - I’ve got a wooden ended New Model which has a fast action, good reeds and a mellow and sweet tone. I’ve got a Model 22 as well and yes, it can be loud but it’s got a good dynamic range. Maybe it’s worth trying to play at the bottom end of loudness… installing internal baffles could help as well
  12. Hello, I would like to know the date of my New Model, #59204, it’s an English treble. Ebonised ends, silver plated metal fittings. Another New Model, English treble, metal ends, #39818 thank you very much!
  13. Maybe asking Steve Dickinson might be helpful… www.wheatstone.co.uk
  14. https://www.facebook.com/groups/2240273277/permalink/10158151556318278/
  15. Hi Bill, of course you can do that! As well around the reed. I do this whenever I have to check if there is something stuck...
  16. Talking about dates I’ve got a question: is there a rough guess when Lachenal started using metal labels instead of the paper ones? Particularly for New Models... sorry if it has already been answered elsewhere. thanks
  17. A good evening everyone , I would like to buy a Model 22, preferably from the 1920s. Ideally it’s in a good condition - I’d like it to be ready to play. A good tone is more important than loudness. Maybe there’s one sitting on a shelf somewhere, I’d be glad to give it a new home. pls don’t bother to answer here - a pm would be nice. thanks!
  18. I was worrying once about the dry air in my flat during the winter. A friend of mine said this to me: „your instrument is 100 years old, survived two world wars, has been played in the winter and summer, pups and all different places. And you think it won’t survive the next winter?“ that helped me to relax.
  19. It is a matter of preference. The reason why I bought a second concertina, a wooden-ended one, was that I wanted a soft and pleasant tone. But I have to admit: when it comes to the look of a concertina I was and I am a big fan of the metal-ended instruments...
  20. My point of view, I´ve got two concertinas, both Lachenal New Models, one is metal-ended the other has wooden ends. I just recently played the metal-ended one in England, not many players but noisy pub. I could clearly hear every single note I was playing but people started moving away from me. A metal-ended instrument, and I´m afraid I´ve got one of those, can be very loud, almost harsh and trumpety. The wooden-ended one is much much softer but has a very good dynamic range. It can be played very softly and is as well a good session instrument. Although the metal-ended one has a good dynamic range as well, it will always sound, well, very dominant. Best thing (when having the chance next time) is to try different instruments and choose which one suits you best. Christian
  21. have you seen his ideas? http://www.youtube.com/watch?v=dmEPTosZ44g
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