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squeezegirl

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  1. Could you who know advise me. How should I keep my Stagi Anglo's bellows in good order? Should I spray them with a leather conditioner such as I can find in a supermarket? Thanks for your help! Maria
  2. What size is the girl? What size are her hands? How long are her fingers? Though probably the answer is yes, the question can't really be answered without more information about the girl than her age. Hopefully more helpful, I think that at least the 30-button Stagi anglos have keys of the same size and spacing as English-made anglos, so if you have a Lachenal, Jeffries, etc. for her to try on for size, that should better answer your question than asking folks who haven't seen the girl. Folks who have played both Stagis and Lachenals (etc.) should be able to say whether there are any important differences in location of the air button, hand bar, etc. Yes, I appreciate what you're saying and unfortunately, because of the 'distance' situation, I have no idea of the size of the girls hands. And as to trying various 'tinas ... that's outta de question as there are no such animals in my neck of the woods... or hers ! I live on an island and to the best of my knowledge I'm the only odd-ball in town with a 'tina!
  3. Hello friends. I've been asked a question by someone and I need your views as I have not got any knowledge on the subject. The question: would a 10 year old girl be able to play a Stagi Anglo? Meaning ~ would her hands/fingers be able to manage the keyboard... i.e. reach the buttons? I certainly value your views as it's a question of whether to order the instrument or not. Bear in mind I live outside the USA - so if the instrument is ordered and it can't be used ... there's a problem ... as to try to return it would be out of the question. TY ! Maria
  4. THANKS TO EVERYONE WHO GAVE SUGGESTIONS. Let me tell you what I've done and which is working admirably ~ I took some closed cell foam of a type that I use to outfit the cockpit in my kayak... and I cut little 'oblongs' and fitted these into the fretwork holes from the outside of the Hayden (the grill cloth is on the inside.) This has effectively plugged the holes and I must say, greatly reduced the volume so that - to my ears - the overall sound is now more balanced. I value the suggestions squeezers have given re playing the left hand gingerly, and so on. I have to admit that my playing style is probably part of my 'problem.' I believe if I was playing 'Irish music' the many suggestions would work fine. I play hymns and tend to play many full, sustained chords on the left hand. I play jazz and again, tend to play many full chords. I play very few 'folk songs' and no 'jigs.' Some here may be interested in two 'custom' accordions I had made by Beltuna. One is a 'push-pull' diatonic and the other is a 'C' system chromatic. On the bass side, instead of the regular basses, I have 12 buttons on the diatonic which are unisonic (same note on the push as on the pull.) On the chromatic I have 36 bass buttons, also unisonic. The reeds are regular basoon reeds ... not the deep accordion bass reeds. What this does for me on the left hand is... it allows me to 'make' the chords instead of having a ready made chord at the press of a button. Thus: if I want to play (say) C7 on the left I can play any 2 notes of the chord I choose to, or 3. Or all 4 - (which I seldom do.) For me, the beauty of music, - at least the music I play - is in the melody of the song and I want the 'accompaniment' to be comprehensive, yet quiet... or "out of the way" you could say. Of course I know I'm being very egotistical here, but I wonder why accordion manufacturers do not make a standard box with the left hand side as I've described. I'm aware there are full 120 note left hand accordion bass set ups that can be played as single notes but I saying that 36, arranged in 3 rows of 12 notes give fantastic possibilities. And I wonder why concertina makers do not offer a model with the left hand 'damped' as standard, since, in my going around, I hear so many fellow squeezers complaining of the same 'problems' I've described. I know this will also blow some minds... (but what the heck! ! !) - I'd like to see a Stage Hayden with the right hand starting on the low C that's presently on the left AND the left hand starting on the C that's presently on the right. Sorry I can't describe this better, I should be able to say 'middle C' or C below middle C but I play entirely be ear and have not got these technicalities at my fingertips. Thanks to all of you. MC
  5. Greetings People I've been trying the 'search' without much success. Would putting a foam lining (or some similar fabric) inside the cover of the Hayden's left hand (bass side) - thus covering the fret holes in the cover - be an effective way of reducing the volume? I suppose an effective way to get an answer to this question would be for me to just go ahead and try it ... but I believe there are very knowledgeable people in this Forum who may have expertise on this subject, so I thought I'd ask, first. The 'problem' of course is ... that the left side reeds overpower the right side (treble) reeds. Everybody here surely knows what I'm talking about, so no need for me to be detailed. What I want to do is reduce the volume of the left hand so that it does not overpower the right. Very much appreciate your suggestions. And thanks! Maria
  6. Hello friends. I wonder if anybody here could help me with answers. 1. Does one play a Bandoneon in roughly the same style as one plays a Hayden Duet… that is, play melody and drop in chords here and there? Or does one usually play melody only? 2. Is there a standard for a Bandoneon? By this I mean… it seems some Bandoneons are push/pull like an Anglo Concertina; whereas others seem to be same note on-the-push as on-the-pull, like on a Duet or an English. 3. Is the fingering of the scale anything similar to a Hayden or an English? 4. Since it seems to be the ‘national instrument’ of Argentina, may I assume there are quite a lot of manufacturers and they are reasonably easy to obtain? Your information is valued. Thanks. Maria
  7. Hello- I have a very nice arrangement of the Lord's Prayer, arranged with the Hayden in mind, and ideal for beginners/intermediate players who play by ear. There are no music notes, only the words with the chords noted above each word. I find working on this particular piece especially helpful, as being something or a newbie myself it provides great left hand 'exercise.' If anybody would like a copy just send me an e-mail at mariacordoba@excite.com and I'll be happy to forward it to you. Take care Maria
  8. If I may add my two cents... for me, an essential difference is: on most accordions (not all) the left hand notes are 'ready made.' Meaning: you can press one button and you get a full chord... i.e. press the particular button and you get Amin or Bdim or C7 etc. - whereas on a concertina, on the left hand you 'make' the chords by pressing the particular buttons you want. This is actually one reason I prefer the concertina ... especially the duet ... because of this ability to create chords. MC
  9. Hello Squeezers: I’d appreciate some views on this Q – re the left hand strap on the Hayden… is it better for it to be more on the loose side rather than tight? I find when I go from playing notes on the left hand top row to those on the bottom, I have to move my hand back on the hand rest. If the strap is a bit tight this impedes a swift movement. If the strap is a bit loose, - I get the feeling my hand is slopping around, although this 'fit' enables me to easily move from the top row to the bottom row. Is it that my feeling of the left hand fitting too slackly is because I’ve never been taught how it should fit? Kindly inform me on this dilemma! And thanks. Maria
  10. I've only had my Hayden Duet for a few weeks and I'm still trying to get the 'hang' of the keyboard. I've played the Anglo for a longer time and can play most melodies straight off, on call... but I can't do this, as yet, on the Hayden. Here's what I'm finding on the Hayden. Suppose I'm working on learning a new melody ...say: "Don't Cry for me Argentina." I've been working on this song for a few days and cannot yet play it note-perfectly yet. But what I find is this... if I look at the keyboard (right hand) I make more mistakes than if I close my eyes! If I may make -say- 6 mistakes, looking at the keyboard... if I close my eyes I may make one! Or occasionally, none at all! ! ! ! Is this odd, or is the odd? I'd appreciate some repartee from the Masters! Thanks! By the way, look at a pic of me playing my box in the margin. It's bit small... I think if you'd click on it, it'll enlargen and you'll see more clearly the box I got from Button Box. ! Be of good cheer, y'all ! MC
  11. I got an Anglo... I don't exactly why! Thinking back it may have been because the scale was similar to a harmonica, which I could play. The Anglo comes easy to me, all you have to do is name a tune and so long as I know it, I can play it straight off... not with all the fancy chords the first time, if you understand. But I found it limiting in that, depending on the number of buttons, it may not be possible to make all chords. So I recently got a Hayden Duet and am loving it! It's more versatile, in my opinion. I was playing an accordion with the massive bass section... 120 basses. I did not 'identify' with it. Somehow, the 'ready made chords' and me din't really jibe. The concertina allows you to make your own chords, from 2-note harmonies, or 3 or 4 note chords, per side - if that's what you want to do, altho, for me, the most I'll 'make' is a 3-note chord per side, sometimes 3 notes on each side - 6 notes in all - according to the particular song I'm playing. I'd mention I'm not into reels and jigs... I play jazz standards and 'ballads' - songs like Solitude, Feelings, Morning of the Carnival, and so on. The genre of music you want to play could be a determining factor in the choice of instrument you decide to choose. If I wish to play a simple folk song or a calypso ... I may use the Anglo. If I'm going to a song like 'All the things you are' ... I go straight to the Hayden. Whatever... keep on squeezin' ! MC
  12. I just got some news on my Stagi repair. I had also asked that the low C D E on the left hand also be checked as it was taking a lot of pressure before these notes would speak. This is what Magnificent has advised: "The box is all fixed and ready to go out tomorrow morning. "The RH C pull note problem turned out to be a shard of wood (!!!) that got stuck in between the reed and frame. As they don't unwax the reeds to make sure that the chambers are clean there's no way this could have been foreseen. "They DID unwax and voice the lowest 3 notes on the Bass side as best as we could. One was significantly out-of-voice and the others only very marginally. That one will be faster acting but the other two will be barely noticeably better. The problem is that Stagi uses short reeds with huge weights on them to get them this low. Makes for an easy fit but the downside is that they are slow to respond - a design choice on their end favoring cost over response." I do appreciate all the 'repair' suggestions you people sent, it may come in handy in the future! Squeeze on!
  13. Yo! Thanks to you Paul and everybody who sent good information. I did not succeed in solving the problem and I've sent the box back to Button Box. As soon as I hear what the problem was, etc., I'll post again with the neccessary comments. Thanks to all MC
  14. My Stagi Hayden's low C (pull) on the right hand - !1st button on the 1st row) seems to have gotten blocked with a piece of debris and wheezes when I play the note. I've been told to hold back the valve, depress the tongue of the reed with a small implement - and blow - and thereby strive to clear the obstruction. Problem is, when I take the end off, I see 3 banks of reeds. One is on a raised platform and have 5 notes on one side and 3 on the other. Then there is a middle row and then a 3rd bank. I cannot discover where/which reed is the one I'm looking for! I teried to figure out that the low C would be the longest reed BUT there are many reeds that are long and actually the same length! Does anyone know where the low C reed (draw) is located? Thanks! Maria
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