SteveS

Thanks Theo - great idea.

I have a New Model TT on the bench that has the usual Lachenal cartouches that are fitted flush with the surface of the ends. Previously I've removed the cartouches prior to French polishing. To refit the cartouches has then required some cleaning and careful removal of excess shellac from the indented spaces before refitting the cartouches. Is there a better way to finish the ends without recourse to removal of the cartouches? How might I clean up the excess polish in this case? All tips appreciated.

Yup seen that too. I currently have a 'tina in my resto pile where several springs have been switched for safety pins - inevitably the pivot posts have backed out of their slots. I've disconnected the springs while the instrument awaits restoration.

Hej Mikael I'll be in Stockholm that weekend too (29 Nov - 4 Dec). Would be good to meet up. There's an English music session on Sunday 1 Dec and Swedish music session on Tuesday 3 Dec - both at Sjaette Tunnan in Gamla Stan. Irish session at Wikstroems Pub in Gamla Stan on Monday 2 Dec. I'll have my concertina with me. Hope to see you then. mvh Steve

I've been thinking for the last few years about making a bass 'tina from harmonium reeds.

My avatar TT Aeola has a super tone - ideal for singing, hence the desire to tune to 1/5 comma. I used to use it for playing for dancing, but that really was too much for the reeds, so I now use a TT Aeola which has steel reeds.

Thanks Geoff - very useful. I'm thinking to tune the Aeola in my avatar to 1/5 comma (this 'tina has non-ferrous reeds).

Have you approached any of the makers? eg. Steve Dickinson (Wheatstone), Wim Wakker (Wakker concertinas), Colin Dipper.

I suggest not using Pozidrive screws - speaking as a restorer, they often round off rendering them impossible to remove with out having to drill them out - and they require access to a proper Pozidrive screwdriver. It also means carrying at least 2 screwdrivers in a repair kit. Always use slotted head screws - as used traditionally by makers - even modern makers use slotted head screws and bolts. I doubt Lachenal would have used Pozidrive screws even if he had had access to them.

Hi Wolf Here's a picture of my 56-key New Model baritone

Thanks Jim - a good idea - I may just print out the ledger page and keep in the bottom of my 'tina case.

I usually carry a small toolkit with a screwdriver - I usually make sure that its in my checked-in bag ?

No, purely amateur and unpaid.

I'm travelling to Seattle, and then Vancouver, in about 12 days time. I'm going to meet up with Scandi dancers and musicians in Seattle and Vancouver. I'd thought to take my Aeola TT. With thoughts of CITES, should I be concerned about the import of my 'tina into US and Canada? The 'tina has ebonised ends, probably of pear wood veneer - but will this cause any consternation at customs? What experiences have other people had at US/Canadian border controls? Thanks.

I use a tuning table for accordion reeds, and a tuning bellows for concertina reeds. It's possible to learn tuning, and with care good results can be achieved. But always practice initially on reeds from a scrap instrument

Thanks Paul - this is a really useful resource.

I'm away in Italy at the moment and so haven't yet got this bandoneon into my hands. However I've been doing so digging on the keyboard layout since I suspected it didn't quite appear consistent with the 142-note Rheinische tonlage. It appears that I may be right - the system appears to be the Einheits tonlage (description here), which differs slightly in the keyboard layout from Rheinische, and may have up to 3 reeds per button. According to this link, this type of bandoneon system may be better suited to folk and classical music. Here is a link to a comparison of the Einheits and Rheinische layouts.

Here's some history about ELA bandoneons: http://escuelatangoba.com/marcelosolis/history-of-tango-part-5/ "Heinrich Band did not make the bandoneon himself. He designed it and ordered its production from Carl F. Zimmerman." "Ernst Louis Arnold, who bought Zimmerman’s factory, will became the most prominent bandoneon producer." And here: https://www.carlsfeld.com/bandoneon.html "In 1854 Carl Friedrich Zimmermann and his brothers began industrial production of these instruments. In 1864, however, they emigrated to America and handed over the business to the former factory foreman Ernst-Louis Arnold. Under the name “ELA” high-quality instruments were made and exported around the world. His successors then produced under the brand name “AA”, an abbreviation of Alfred Arnold. In 1924, Arnold made the German unified bandoneon and the “Rheinische Tonlage” for export to South America."

Thanks for the tip re. Tango Sin Fin - they certainly seem to have a lot of material for learning. It'll be quite a while before I dare play tango with others - balfolk may be more accessible.

Argh!! museum exhibits. Instruments should be played IMO. ?

I can do the retuning and all other repairs myself. I expect it'll be years before I could contemplate playing with other bandos - on the other hand I may get to play with others on the balfolk circuit sooner - so I guess A440 will be what to aim for.

Thanks for the tips - I like the look of the Don B method so I may invest in that. I noticed that the keyboard layout on the extremities of the Lange are different to the Arnold bandoneons. I haven't yet received the bandoneon, but I'm expecting it to be in 1930s pitch - whatever that'll be centred on. Hopefully I'll be able to retune it. I have noticed that modern bandos appear to be tuned a little higher than A=440.

Thanks - the Don Benito course looks interesting. I've found the Ambros tutor by an Argentinian master published in 1930s (at a guess - in Spanish). One tutorial I found on YouTube describes it as learning 4 different keyboard layouts in one instrument - scary!

It's winging its way to me now - once I receive it and open it I'll let you know - though I suspect it'll be single reed. Edit: turns out the US Conc Assoc people are for the Chemitzer concertina, and not the Rheinishe tonlage variety most popular with Argentinian tango aficionados.

I've just acquired a bandoneon - a F.Lange, Chemnitz, model from 1930s at a guess. 37/35 buttons, Rheinische tonlage (the type used for Argentinian tango). Looks to be in reasonable condition, with 1 missing button. We'll see what it's really like once I open it.