David Helmore

Thanks for getting in touch Ruger64, I’ve sent you a message Dave

Hi again Just to avoid any confusion, I'm looking for a restoration project 'to purchase' Thanks again Dave

Hi all I'm looking for my next repair project - this time its a 26, 28 or 30 key anglo full restoration project (condition not an issue) that I'm after, and would consider anything above the entry level Lachanel model. If you have anything you would consider parting with, please let me know. I'm based in Australia, but my parents are in the UK and would be happy to have a concertina sent there if shipping to Aus is an issue. If the hunt is successful, I would be happy to cover the donation to the site. Thanks for reading! Dave in Melbourne

Hi Gerry I met you last year when you purchased a concertina case from me, and I remember you mentioning this Jones concertina - it’s David, from Highett. Looks like this is quite an early Jones Anglo, I’m lucky enough to own a 20 key Jones too (2815). Would love to see some more pics of your one (or whatever remains) if you’re able to post. A very interesting thread as always Stephen. Thanks all David

A lovely concertina! My guess would be 1895 to 1900. I’ve just restored a 55 key duet which I’m learning now. Great fun! Enjoy yours! Dave

Hi all Just wanted to let you know that I've managed to get a 55 key Lachenal Maccann duet restoration project - can't wait to get started!! Donation just made to concertina.net through the link Thanks so much to everyone that got in touch and for everyone that offered to help Really appreciated David

Hi again Ideally I'm looking for a full restoration piece but I would consider one that just needed minor work only to get it running at its best. My preference would be 46 or 55 key but I would also consider a 39 key or something slightly bigger depending on what is out there. If shipping to Aus is an issue, my parents are based in the UK so shipping there instead would be be an option. If you're willing to consider parting with one, send me a message! David

Here's some close up detail showing what was actually being registered. The first picture is 'as found' and show the connection has separated. The second picture shows it slotted back on with just a 'friction fit'.

Hi all Thought you might be interested to see this. My parents volunteer at the National Archives at Kew and were able to access the Joseph Scates registered design (871). I would like to acknowledge and thank the National Archives for allowing me to reproduce the images here for this registered design. Here's a transcript of what it actually says: 1846 November 21 (the date of registration from the search) Useful Registered Design Number 871 Improved Lever Action with Cylindrical fulcrum for the Concertina, Accordion, Harmonium, Melephon, and Seraphine. Joseph Scates of 40 Frith Street, Soho Square Proprietor Description Fig 1 of the Drawings is an elevation of this improved lever and Fig 2 a plan of the same with its connections. Fig 3 Is a detached view of the lever in elevation and plan and Fig 4 Is a side and end view of the support or fulcrum for the lever also detached from its connections. The lever itself is made of a piece of wire bent into the shape represented at ‘a’ which forms the joint when put under the cylindrical neck ‘b’ of the fulcrum or support to which it is at all times kept in close contact by the action of the helical spring ‘c’. The parts ‘c’, ‘d’, and ‘e’ are common to instruments of this sort and no improvement in the configuration of these is claimed but what is registered as being new in respect of shape and configuration are the lever ‘a’ and the cylindrical fulcrum or support ‘b’. JC Robertson & Co Registration Agents 166 Fleet Street London

Hi all I'm looking to buy either a 46 or 55 key Lachenal Maccann duet to restore. If you have one you are looking to part with, please send me a message. Thanks loads David

Hi Robert These wooden baffles are common In the early concertinas - from what I’ve seen, later ones generally have cloth or even thin card baffles and in a lot of cases these have been removed. I’m sure others are more knowledgeable than me on this subject though!

Here's what 150+ years of dirt looks like....

Hi Folks Thought you might be interested to see this one. Originally I thought it was an early Wheatstone as it had a registered design plaque attached to one end dated November 21st 1846. However, after a bit more research (through the National Archives online searches), I found this registered design to be linked to Joseph Scates for 'Improved lever action with cylindrical fulcrum for the concertina, accordion, harmonium, melaphon (melephone) and seraphine' (Useful Registered Design Number 871, November 21st 1846). The instrument itself is of quite basic design and finish with single action only - I've never seen anything quite like it before! I'm thinking it could perhaps have been put together purely to demonstrate the 'design improvements' above dating from around 1846, but interested to know your thoughts too? It was purchased through a UK charity shop on ebay, so unfortuntaly no history is known. Someone has also tried to open it up in the past (misaligning the ends when they reassembled) with the loss of some parts that will need to be sensitively re-crafted. Thanks for looking! David

What a great story, would love to see some pictures! Best of luck with the project David

One more quick question on this... Am I right in thinking that the 'thin wood dividers' that are mounted on to the reed frame that enclose each reed chamber are also made of thin strips of English Sycamore? Thanks! Dave

Hi all Thought I'd post pics of these two for any one that's interested as both have appeared on the site in their unrestored state, and they are now almost finished. Haven't managed to do as much repair work as I would like in the last year (as we have a new baby and have relocated from the UK to Australia), but I'm sure that will change over time... This site has been a huge help (and inspiration) over the last few years! Dave Helmore

Great - thanks all! As the majority of the plating is still there, i'll try the hot soapy water option first then reassess. Am I right in thinking that the early metal ended instruments were all nickel plate and that this later changed to something else? Dave

Thanks all - that's incredibly helpful and certainly points me in the right direction... That clip is just amazing - I had no idea that it existed!! Dave

Hi All I have an early Lachenal with metal ends from around 1890 (which I think are nickel plate). The ends show sign of wear to the plating and are also quite dulled. Any tips on the best way to clean - would hot soapy water be the best option or is the only route to get them replated? Thanks! Dave

Hi All Greg kindly pointed me in the right direction in terms of the type of wood used to make reedpans (English Sycamore). I'm still learning my woodworking skills and am keen to find out what tools would historically have been used to cut the slots in the wood for 'traditional' reedframes to sit. Also, if making a reedpan today would the same tools be used or would the preference be for modern power tools instead? I'm looking to have a go at making some, so if anyone can point me in the right direction that would be great! Thanks Dave

Thanks everyone for the tips as always - much appreciated! David

Hi all I seem to remember reading on here somewhere that the wood used to make the reedpans was 'pear wood'. Is this right? Thanks for your help as always Dave

Thanks everyone for all the info as always! Tom - look forward to seeing some more pics of yours when you manage to get inside All the best Dave

Hi again Thanks for all the info! Here's some more pics for anyone that's interested.... Here's a few more observations: 1. The ends of the reeds are square. Having read through Neil Wayne's article on Wheatstone, he mentions that Wheatstone stopped using square ended reeds in the late 1840's. Would this have been the same for other makers as well (or is this another unknown)? 2. The stamps on the right hand side under the action board and in the bellows frame (R & serial number) are all 'back to front' - not sure why this would be... 3. The 'C' keys on mine are coloured, on Tom's they look white - although the fretwork is the same, the woods are obviously also different (although I expect there will be more differences once we can see inside!) 4. The boxes on both instruments seem similar (and are slightly smaller than the more conventional size as the instrument is 15cm across the flat sides) 5. Any ideas what the 'W' could represent? - are there any letters like this on your one Tom? Chris - I've never heard of SC Taylor.. Is there any info anywhere online that anyone can direct me to? Appreciate there are probably no definitive answers, but thanks for any input anyway! Dave

Hi All THis is the one that seems quite similar to Tom's that finished on ebay a couple of weeks back. Pics attached - would be interested to hear your views on who you think made it. Serial number 990 and has a 'W' mark on one end.... Thanks! Dave Helmore