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Theodore Kloba

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Everything posted by Theodore Kloba

  1. Bulbous, also tapered! I think I'll try to work up "Sweet Sweet Bulbs"! In the meantime I got reminded of another song from a rock band (even if it's not quite a rock song) that I could work up on concertina: "Salt of the Earth" by The Rolling Stones.
  2. I also have an 88-note (44 button) bandoneon (a bit newer than yours) and I've found that this is a nice balance between size and flexibility. How is your instrument voiced? Typical octave-tuned double reed, or just single? What's its playability? My instrument has the typical metal edges rather than the colorful inlay visible on yours and the bellows also has two intermediate frames, metal staves and metal corners. The air opening grille also has the word "BANDONION" in the stamping.
  3. Better answers than my above attempt: "Concertina players", since they don't know about the other kind of concertinas. Stanley Eddie
  4. Not to mention Washkovitch, Lapka, Pennsylvania... Probably! Then again, maybe he was playing English, and that's why his music was deemed "unsatisfactory". Konzertina-spieler.
  5. I don't own a double case (or an Anglo), but I would worry about "putting all my eggs in one basket". If the case is lost, damaged or stolen, you could lose two concertinas instead of one! You can also do this with a case for a large concertina Again, I don't have a double case but Greg did make me a case for a "double" (-reed, i.e. bandonion). Very nice case, and Greg took the time and effort to get it just right.
  6. You might try posting on the rec.music.makers.squeezebox newsgroup (link is to Google groups, but any newsreader will do). It has an inconsistent level of activity and is occasionally overrun by trolls, but it's a start. Also search the archives there for announcements of other Accordion discussion groups where you might post.
  7. Many of Jody Kruskal's songs are in his book Feet in the Clouds (available from CDSS). It's in lead-sheet format.
  8. Will the original (Hammerschmiedt) melody be sung? If so, then music credit goes there. Maybe you should get credit for arranging!
  9. I could read it fine on my PC, but I'm not using Adobe Reader, I'm using Foxit. The necessary fonts are probably embedded in the PDF, but Adobe thinks it can substitute something else. Incidentally, most people probably wouldn't know what to do with a .mus file. What application is it from? Can you post a recording of the piece, or something "playable" like midi?
  10. Sorry to get serious in an inappropriate place, but parallel tritones can be quite nice given the appropriate accompaniment. Just think of them as seventh chords who aren't sure what their root and fifth ought to be.
  11. More likely it has to do with the compression of the data. I see this on a lot of YouTube videos, even ones professionally produced for television (see below). Are you using a digital camcorder? A lot of them default to 12-bit audio resolution; You can set it to 16-bit, and all you lose is the not-too-useful capability to dub additional audio onto the tape. That might make the high notes more audible. What do you know... I didn't realize Sanford and Son had its roots in London. Now there's a TV theme (by Quincy Jones) I ought to try learning: http://www.youtube.com/watch?v=MzRqDpU3NcALove that bass harmonica! And the same image-to-audio synching problem (at least when I'm viewing)!
  12. Even though the text conversion on Google is imperfect, at least it is there. As you know, full-text search on USPTO only applies to patents issued since 1976. One big disappointment for me is that classification search (which covers all patents on USPTO) only covers the new ones on Google. It would have been nice to search a classification (like 84/376R) and get a listing of old patents with titles. The classification listing on USPTO for old patents does not include the title.
  13. Happy New Year! I can't really help you, but just thought I'd wish aloud that we in the US made holidays of our poets' birthdays! I don't know who would be a good candidate to celebrate, though... Certainly no American poet of Burns' era is as well known as he. Emily Dickinson? Walt Whitman? Robert Frost? Carl Sandburg? E. E. Cummings? Jack Kerouac? I did play "Auld Lang Syne" outside at midnight Monday...
  14. I've had buzzing occur in cold weather on my Chemnitzers. I always assumed it had to do with different coefficients of thermal expansion for the (Steel) tongues and (Aluminum) plates. In an instrument with brass reeds and brass shoes, this would not happen as the reed & shoe would expand & contract at the same rate. Have yours all been brass tongues in brass shoes? I just checked, and the linear CTE for aluminum is nearly twice that of steel: 23 x 10^-6 / K vs. 12 x 10^-6 / K.
  15. The important difference to note is in the URL: The host name/address (the part right after http:// and before the next /) is a numerical address, and not anything ending in .ebay.com. They stick the parameter ?www.ebay.com after the address to confuse. Always watch that address bar when entering a password. The irony here is that if I had been a potential buyer who never heard of the seller and was not following this discussion, I would avoid bidding: The explicit statement "RELISTED DUE TO SCAM ARTIST CLOSING MY AUCTION EARLY" and the seller's insistence that it's the real thing and not a scam would send up a whole lot of red flags. I would also wonder about the violation of eBay terms of service: There's the address of a non-ebay commercial website within the auction description; it's not a clickable link, but it is within eBay's definition of a link. Here's what you are allowed to link to within an auction description: http://pages.ebay.com/help/policies/listing-links.html Anyway, I'm sorry to hear that this happened, and I hope the phisher didn't get a chance cause any further damage.
  16. Seems like the cheaper ones might be, but I have a hard time believing that good ones are... All those compound angles and nonperpendicular slots and tiny pieces of very thin stock to separate cells. I have managed to make Chemnitzer reedblocks with less effort than concertina reedpans appear to take in the factory video, but in my case, most of the reed plates/shoes were identical in length for a particular block, so the cells of the block didn't reduce in size across the range. High quality accordion reedblocks taper down gradually in height and depth as reeds get smaller.
  17. I've probably seen you! I work across Jackson St. from the station. Do you play along Riverside Plaza? I used to play there all the time, but I became too busy at work to afford the time at lunch. If it is actual Chicago Police hassling you, you'd probably have better luck if you remember that the way to a public servant's heart is through taxes and purchase a Street Performer's License. I never obtained one when I played, but I also had a sign that said (along with some fine-print explanations): Please no money No, it's not an accordion This is not my job If it's private security staff from one of the office buildings, then you're out of luck; much of Riverside Plaza is private property (as are many sidewalks in downtown Chicago, which are built over basement "vaults") and building owners can control what happens there. Certainly that helps. One time a coworker tried to join me with her snare drum. That got us booted out almost instantaneously. In general, people here seem to be pretty kind to street musicians.
  18. If I were in your position I might try Brad Lehman's reconstructed Bach* tuning detailed at larips.com. I've already decided that should I embark on tuning my smallest bandonion (old and out of tune), I would try this temperament. Even if you don't try it on your EC, the website is very interesting. *Whether this was truly the tuning Bach intended for his Well-Tempered Clavier is of course disputed.
  19. Now that we have ZiziAllaire's friend and Mattamar Pazzolov (those champions of alliteration), this can be taken literally. In the context of the occasionally recurring Anglo vs. English discussion it means something else entirely.
  20. And yet, I do... It does have 4 sets of reeds and I tend to play loudly.
  21. It's not an "effect" per se, but why not try one of those "bullet" microphone/overdriven tube amplifier setups that the blues harmonica players use. You might have to stick one side of the concertina close to the mic to get the right tone.
  22. I just posted a couple new videos of myself playing: Capri-Fischer: Peg O' My Heart: Enjoy!
  23. Hello, Mattamar! I did receive your PM, but I was out of town for a few days. I'll get to your question about repairs in a moment; I think it is worth posting here for anyone who searches the archive in the future. It is beautiful, and I'm glad you have decided to bring it into good playing condition. It is from the era when Pateks were made by Otto Schlicht. Among vintage American-made Chemnitzers, these (and the Pearl Queens made also by O.S.) are just about the most sought-after of makes. You mentioned 16 Horsepower in your PM; David Edwards plays a Patek of this vintage. That was back in my days playing bass guitar in a punk band and then as a post-punk-neo-beatnik-semi-dissheveled-drab-yet-hip alternative rocker. That's two more things we have in common then, although my tolerant wife prefers the phrase "loopy as a loon." Hallelujah, brother! Ye have found it! That (and a particular track from a CD of Lithuanian Folklore) was what put a [Chemnitzer] concertina in my hands. It's a shame there aren't better tutorials out there, but if you have a good musical foundation, you can use Silberhorn to learn the keyboard. My first recommendation is to move past the number system that's presented there and learn to read standard sheetmusic (maybe with your own bellows-direction marks), especially bass clef. I know a lot of amateur players who just work from the numbers and it severely limits their playing, especially of the left hand. From what I know of clowning, I would think that plummeting anvils would be just the ticket! Seriously though, what you described sounds less like tuning than maybe stuck reeds or bad valves which are much less serious issues. Poor tuning on an instrument like this would sound like raging tremolo. Daniel Hersh is also a (part-time) Chemnitzer-spieler as is Greg Jowaisas. There may be others I'm not remembering. About repairs: At the time I bought my first two instruments, John Bernhardt was still operating Star Concertina in Cicero (west suburban Chicago). He's now retired and only does work for his own enjoyment or occasionally for friends. After he stopped making new Star Concertinas, he kept the storefront in Cicero open for the repair business; excellent repairs and tuning were done there by Lucio Lorenzetti, but he passed away of an unexpected and swift illness in 2003. The storefront in Cicero now houses a Karate school if memory serves. Pompilio Rosciani (sp?), one of Star's former owners now works for Italo-American Accordion in Oak Lawn (south suburban Chicago). He did decent work on one of my instruments, but I would urge caution taking your instrument there. He owned Star at a time when they made instruments that were more accordion-like in internal construction (like the one I brought there), and mostly works on accordions now. I have not seen or heard an example of his work on long-plate reeds like those in your Patek. I also had a not-entirely-positive experience with customer service there. There is one Minnesota-based dealer and technician who is apparently respected, and seemed a decent guy when I met him, but I heard the results of his tuning on a friend's old Sitek (made by International, which was a precursor company to Star) and I would have to rate it as "ruined." This particular friend seemed happy enough, but I liked the "before picture" far better. There are a few other tuners/technicians advertising on the web (in Illinois, Minnesota and Wisconsin), but I do not have first- or even second-hand knowledge to share. I (like Daniel Hersh) have taken the tack of learning repair on my own. If I didn't have to work to pay the bills, I might take in outside work, but as it stands I don't have time to finish the restoration projects I've started.
  24. When I did an online search of US patents a while ago, I think I found about a dozen variations of the single-reed-for-both-bellows-directions theme without even trying. (I was searching for something else in the same classifications). Considering that the ostensible goal of such innovations was to simplify the instrument by reducing reed count and eliminating valves, it's amazing how much complexity the inventors introduced into the system: intricate multipart reedplates, valved chambers, pallets connected through the valveboard with linkages, etc... I don't have my notes from that search handy, but I could find them post a few if anyone is interested.
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