SteveS

Try this video for a starting point:

I waited just over 4 years from placing an order to spec:ing my Parnassus TT.

This is exactly what I did to make a new brass reed - cold hammered the brass sheet to work harden it.

There was a baritone in Bb for sale on this forum in the last 10 days or so.

I agree, never mention the word 'concertina' - it can be considered a munition. Also when flying, I always say to the person attending the loading of the conveyor that I have a small accordion in my bag/case. They may then alert the x-ray scanner person. I have occasionally had to give an impromptu concert!!

I'm surprised Barleycorn didn't know the maker. Rock Chidley concertinas have one typical diagnostic - there's a bird's eye cut into the fretwork on each side - look below the little finger rests.

I've used emery boards - the type used for filing finger nails.

I parted with the instrument about 5-6 years or so ago. I wish I had another available.

I've seen bandoneonistas bounce the instrument on their knees so as to emphasise the rhythm (something I've experimented with on EC). This instrument could never be bounced in the same way, IMO leaving tango a little flat.

From memory, I believe the lowest note was C, making it a C bass. I no longer have the instrument.

Wheatstone price lists are here Wheatstone English Concertina Pricelists Wheatstone model numbers can be found in the price lists. Lachenal New Model - Lachenal price lists here Lachenal Concertina Pricelists

New Model concertinas are great - I'm a big fan. I have a Wheatstone Aeola TT which I rebuilt from a box of bits and made new ends for - this has terrific 'brass' reeds - however they don't take a lot of hard playing before needing to be touch-tuned. I use this 'tina mostly for song accompaniment.

A Wheatstone Twelve-Sided "Edeophone" Concertina with Pre-MacCann Chromatic Duet Fingering

Hi Richard - I've sent you a PM. Cheers, Steve

I have a 56 key Aeola Tenor Treble for sale. Ebony ends, fully restored about 3 years ago by me. Plays amazingly well with a fast action and responsive reeds. Currently in UK.

I'm selling a Wheatstone Aeola 56 key tenor-treble, ebony ends. Serial number 30104. In terrific condition, fully restored by me about 3 years ago. Restoration included fret repairs and French polished, new thumb straps, new pads, new valves, tuned to A=440Hz, action rebuild, metalwork polished, new bushings. Plays like a dream with a super fast action and great dynamic sound and range. I'm currently in UK and the 'tina is in the UK with me. The concertina is located in Chesham, Bucks. CNet will not allow me to post more pictures - please request more pictures. No case I'm afraid - it will be securely packed in transit - or local pickup. £4000 or near offer. Reason for selling - I have a Wakker Parnassus tenor-treble.

It's been quite a while since I last posted any Nordic tunes. Here are a set of tunes that Gill Redmond (cello) and I played for dancing about 2 years ago. The set also features shruti box and härjedalspipa. also this waltz https://www.dropbox.com/s/tdrv1quaz7uuvpv/IMG_5397.MOV?dl=0

Great article - thanks for the posting the link

I believe it is something like Approx 4% tariffs on the value of the goods 20% VAT on the value of the goods, insurance and shipping, and I believe the tariffs Courier fees However there may be some form of reduction in this if the item is an antique, that is over 100 years old - and you'll need to be able to prove it.

Here are some burl walnut ends I made for an Aeola

Like Alex West, I've also used male & female blanks in my nipping press. Here's a picture of my press....(it weighs a ton)

Like Alex, I also use a laminate of sycamore core and commercial veneer both sides. If I'm making ebonised ends I use pear veneer, otherwise the fine veneer (burl, amboyna) on the outside and pear veneer inside. Veneers are oriented 90 degrees to the grain of the core. I may have to adjust the thickness of the core so the overall final thickness of the end plate is the same as the original. I've used a variety of glue, including cascamine (toxic though so care needs to be taken when cutting), hide glue and epoxy. I prefer the epoxy. I use a nipping press to press the laminates, or a vacuum press for raised ends. I have used the nipping press for raised ends having made a former first. For cutting the fretwork I initially used a power fretsaw - that proved more trouble than its worth, since there is a tendency for the saw to run away on a cut. Moving the blade and retensioning it before each cut was also a right pain in *. Nowadays I use a hand fretsaw which employs a cam for quick, easy and consistent removal and resetting of the blade between cuts. I have in my resto pile a 'tina with solid rosewood ends. The ends are cracked, but probably salvageable by filling the cracks, but solid ends might crack with time and prevailing conditions. A laminate is preferred because it is stronger and less likely to crack (and I have seen both cracked ends and ends that were so powder-like that it was only the years of accumulated muck that was holding them together).

I too asked some questions and not received any reply. Beware.

I have chatted with HMRC. It seems that my instruments will be classed as luggage (as will everything else in the car) for the purposes of duty, provided they are for my personal use. I was also advised to take pictures to prove ownership prior to departure, and to even ask for some sort of certificate from authorities at the port of departure (Calais for me). I guess a date stamp on the pictures would be important. A good idea is to take a picture on the day of departure of each instrument with the newspaper of the day to show they originated in EU. So I'll stop at a French service station on the way to the port, buy a newspaper, and take my pictures. I'll make sure I include serial numbers too.

Thanks for the link. My instruments are ebonised wood (probably pear), amboyna, spruce, sycamore - I don't anticipate any CITES issues, but will of course, carry out an informed assessment of risk.