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Theodore Kloba

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Everything posted by Theodore Kloba

  1. Then it's probably neither Chemnitzer nor Bandoneon. More likely a Karlsfelder. Is the keyboard system like this one?http://web.uni-bamberg.de/ppp/ethnomusikol.../K-Notation.htm
  2. ... Here it is: http://www.aescon.com/aesconsulting/french/num1.htm
  3. I wonder how one would go about converting that to mp3? This was discussed last year; conversion is being done by these folks: Cylinder Preservation and Digitization Project. (Hint: Go there and search for "Concertina"!)
  4. I can think of a few "crystallised" phrases (scientific or legal mostly) where we do keep more inflectional morphology than the distinction of number, e.g.*: a priori, in vitro, in situ, ad hoc, pro bono, ex officio, etc.* I know you are joking, but of course every language does have its own kind of complexities, and although the ones you mention in Latin are foreign to native English and Chinese speakers, they would not be to native speakers of Russian or Hindi for example. *Yes, exempli gratia and et cetera could both go in there too!
  5. I've never purchased from them, or even gotten a quote, so I don't know yet. The instrument I'm building now will have a used reed set; I was considering buying DIX reeds from Harmonikas Louny in the future. They are a succesor company to Delicia. See below... Here's what the website says: The German company DIX made reeds for many chemnitzers and bandoneons (I have one chemnitzer with DIX reeds). You can identify them by the small (about 3mm) circle stamped near the edge of each reed plate.
  6. I just recently noticed that Harmonikas Louny is now making harmonium reeds. It seems like these might be usable in a slightly modified traditional reedpan design: They could be inserted into a square groove (rather than a dovetail slot) and screwed down on a leather gasket. Maybe I'll even try making a single-reed chemnitzer with these!
  7. Coming in late on this one...Also coming in late... Don't know how I missed this last year. The pronunciation seems inconsistent: The first and second syllables use special characters, but not the third and fourth. Most dictionary pronunciation systems avoid digraphs, and might have used e with macron instead of "ee" and another schwa instead of "uh". Funny that those last two syllables that are the ones least affected by dialect; even being about constant either side of the Atlantic. Here's a typical pronunciation guide and a typically-bad definition: http://www.bartleby.com/61/58/C0545800.html I won't ask you to start making a Chemnitzer version of the shirt. Maybe I'll do that.
  8. Not impossible, but I think it might be a deal-breaker: The spacing between cells on each reedblock for a bandoneon reedplate will be much less than the widths of modern paired reedplates, so they would have to be cut down to fit. The dividing walls between cells of the reedblock may be too narrow to make a good seal with a reed on each side. Reedblocks made specifically for individual plates (e.g. those made by Arno Arnold) have thicker dividing walls. The middle octave reeds on the treble side need to have the tips of the tongues pointing towards the action board, with the tips all aligned and some excess plate material at the rivet end. Paired reeds don't usually have this excess plate material, so you would have a gap. Feel free to give it a try, but it's not something I would want to undertake.
  9. Seems to me it will add to the tooling required: Every used bandoneon you find will be a bit different from the last. You'll be redesigning the thing each time. The body is not really that hard to make-- I've done it already, so I know. With a Hayden, you could also eliminate the big air valve. If you did try to "haydenize" a bandoneon, using the body, bellows and action as-is, you'd need to get custom-made reed plates to fit the reed blocks, but with the notes rearranged. That would probably be costly in a "one-off" situation. I don't think it makes sense to build on a used body. In the Hayden patent, one variation on the system included curved rows as in a bandoneon! I've played some nice wooden-action bandoneons/chemnitzers, so it can be done. I was even considering a wooden action for the instrument I'm building, but couldn't work it out with the particular reed set I used. The big problems with the old ones are durability and stability under different temperature/humidity conditions. If the levers were laser-cut from thin plywood, these problems could be reduced. The pivot methods used in aluminum actions could also be adapted to work with wooden levers. The highest notes could be unison tuned-- I've encountered this in some instruments.
  10. Am I correct in guessing that a "bin man" is the fellow who collects the trash? One of my high-school friends worked summers for his uncle's waste hauling business and brought me a few musical (but non-concertina) treasures that I got for free. One was a National "Princess" lap steel guitar in rough shape. I got it working, but didn't have the means or knowledge at the time to do a proper "restoration" so it probably lost most resale value. I still have it and play occasionally. Another time he gave me an ailing "Black face" Fender Bassman amplifier (without the speaker cabinet). At the time my dad had access to lots of electronic surplus, so he set me up with the tubes (valves) I needed. I used the thing for several years. About 5 years ago I dusted it off, adjusted it and sold it on eBay for about $600. My friend did end up getting a treasure of his own from my family: He borrowed our vintage Triumph Oscillograph Wobbulator and we forgot to collect it from him when we moved house and have since lost touch with him.
  11. I had thought that Basswood was only Tilia americana, but according to Wikipedia, you're correct: The term is also applied to other Tilia species in the timber trade.
  12. You're welcome! You can also use it on the treble side! BTW, I think "basswood" is an Americanism: In British English, it's probably called 'linden'.
  13. In a repair situation, I would just try to duplicate the components, using the bass side as a guide. If you wanted to get fancy, I suppose you could laser-cut the levers from thin plywood, but I'd just as soon get some thin basswood stock from a modeling supply house (like SIG Mfg.) and cut them with a coping saw. Trying to get an aluminum action in there would probably be incredibly difficult if you could fit it in at all.
  14. I wonder why we need to have a definition of "hybrid" beyond the biological one... Why not just state the facts about a particular instrument and ditch the artificial category? It seems to work for the folks who only know "Chemnitzer" concertinas. How many buttons? How many reeds? How voiced? Long-plate, pin, or waxed in? Reedblocks glued to the valveboard? What shape are the reedblocks? Are they glued together from small pieces of stock, or machined from solid blocks? Wooden action? Wooden with metal extensions? Metal? What type of pivots? etc., etc. Depends on what you call a "concertina". I would think that Hengel, Patek, Glass, Kadlubowski, Uhlir, Wolfe, etc. would hotly contest that statement!FWIW, Rudy Patek was a promoter & performer. His brand was made by Otto Schlicht, who made Pearl Queen and others as well. The others are all builders. What are those two "big histories" you speak of? It also persisted on American instruments with long plate reeds that included piccolo reeds and had enough physical space to fit them in the box....And it will be used on at least one new American concertina with reeds paired on small plates. I think it should only be used genetically. That's more like it!
  15. The key levers will be laser-cut from sheet aluminum; I have them designed but not fabricated yet. The bending will have to be done manually since each one will be different. Levers will pivot on threaded nylon sleeve bushings. This attachment is essentially similar to the method used by Star, which descends from the one used by Glass. Otto Schlicht's method, used in Patek & Pearl Queen and later by Hengel (who bought Schlicht's shop) need a little standoff part between the bushing and lever. It supposedly makes the action quieter (which I doubt), and also simplified the manufacture of the levers, which doesn't really matter for the laser cut parts. In case you're wondering: I couldn't even consider a wooden action because the reeds plates I have are too wide to make a reasonably-sized keyboard with straight levers. Here's a section (looking through the treble side from below):
  16. I've posted progress photos here: http://prairieboxes.blogspot.com/2007/09/c...a-progress.html Enjoy!
  17. Haven't been on C.net for a while and started reading this thread. I'm replying before I read all the posts so sorry if I duplicate... And chemnitzer concertina appears to be the instrument for retired machinists. A different kind of geeky to be sure. Klezmer with English Concertina from Washington DC area: 30 Years.
  18. I've decided to sell one Bandonion from my collection. It's now on eBay (US), item no. 200140825275. It is in the "einheitsbandonion" keyboard layout (72 buttons) and has traditional bandoneon voicing (sort of-- see the auction).
  19. This is all I could think of when I read that: If you're not familiar with the fish, you might want to read about the Crappie on Wikipedia.
  20. All the Chemnitzers I've seen have had more treble than bass buttons. (E.g. a standard 38-button Chemnitzer has 22T/16B) This instrument has one more on the bass than the treble. No other insights to offer.
  21. That's quite possible. It didn't have a Pearl-Queen label, but I have seen some instruments without a brand that showed signs (like the triangle inlays) of being built by Otto Schlicht (who built the PQs as well as Patek). If it is a Schlicht instrument, then the buyer got quite a deal.
  22. I've always assumed it to be the latter, so that bands with wind instruments could be on the same page, so to speak... Nothing really to offer. If you're going to mess with it though, why not make it uniform. The only benefit of the layout is that the right hand is "context sensitive" based on bellows direction as dictated by customary chord fingerings in the left in the keys of G, D & A. When I get a chance, I'll post some "theoretical" uni-sonoric layouts I've come up with that still make for easy diatonic playing. The (plausible) explanation I've heard is that they were originally played in groups with strings, where the "sharp keys" are more prevalent, especially in folk music, due to the tuning of the open strings.
  23. Is yours the "Bandonian Concertina Antique MOP Inlay with Case", eBay item number: 230133483834? If so, I've looked at the auction photos and it's not quite a Chemnitzer-- at least not an expanded version of the standard 52-button layout. The core layout (from the 38-button version) might be the same, but some other button numbers are placed differently (e.g. right hand 16, 17, 18 and "cross hairs"). I couldn't read all of them, but enough to notice the difference. Also, it's neither a subset of the (64-button) Einheitskonzertina nor an expanded Karlsfelder layout. I would guess it's American-made, since the corners have triangle inlays, rather than lyres. It looks to have the same layout as the instrument Henry Silberhorn is playing in this photo, which (ironically) is printed in his ubiquitous tutor for "104-note" concertinas. I think you may have to figure the button layout out for yourself. I would start with a standard layout (Like mine) and make note of changes/additions.
  24. How do you deal with non-standard or historical rivet sizes? Do you drill the tongue and plate out to match a modern standard size? I know one individual who insists on turning custom rivets on a lathe, and I wonder if that was the only way.
  25. I'm another Noteworthy user, and it's definitely worth it. I like the keyboard shortcuts; I find it quicker placing notes by keystroke than by mouse (which you can still do if you prefer). I never tried Musette, but did try Finale Notepad; its lack of workable keyboard shortcuts led me to abandon it. That was several years ago, though.
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