SteveS

Thanks for these - very inspiring. My DAW is Samplitude Pro X. I had planned to position mics either side of the tina and recording 2 tracks per instrument/part - your suggestion about mic placement looks like I need to experiment with mic positioning and then not change it between instruments. 2 mics might however introduce an additional level of complexity - so maybe 1 mic/track per instrument will be best. Will do. There are a lot of factors to consider and lot of research and experimentation to get best results - plus I need to learn my DAW too. This could be a fascinating journey - something I've been wanting to do for years. I'm still working on my arrangements - I use MuseScore 4 which has the ability to playback concertina samples - so this is a good way for getting an idea about how the final product might sound. My audio interface is a Focusrite Scarlett 18i20.

Thanks Steve Yes using the DAW's click track is a good idea to help synchronise. One of my arrangements is a tango so the bass part should establish the rhythm first I feel. I'll have to experiment, and I was soliciting tips to carry into my planning and execution of my arrangements using the DAW.

I'm working on a number of arrangements for concertina quartet - 2 trebles, baritone and bass. I'm thinking to record these arrangements into my DAW playing all of the parts myself. Does anyone have any tips on how best to work at this - my initial thoughts: record the bass part first, using a metronome for timing accuracy then record the treble 1 part to establish the melody (well mostly melody) then record treble 2 and baritone parts to create the harmony My DAW allows me to play back recorded parts for multi-tracking, as well as parts created in the DAW using a keyboard - so I could potentially playback some or all of my score at the same time as recording a part - something I've not yet tried. Any other thoughts on approach? How have others here approached the subject of recording parts using a DAW?

I know it's not strictly concertina related, but we're all squeezers here, and some frequently squeeze other bellows-driven boxes. Does anyone in EU have a Hohner A114 melodeon for sale, in the key of A (or Bb)? If so, please PM me.

Try Wim Wakker of Concertina Connection - he may be able to help

I've seen this many times - and it's not an easy thing to repair. Bolts are overtightened in the mistaken belief that doing so will fix leaks - the leaks are often caused by the chamois being over compressed - I've seen chamois so compressed that it looks like wood and missing entirely. The remedial action should have been in this case to replace the chamois.

Here is a Lachenal EC with a date written inside. Serial number 5876, February 1869. May prove useful in placing a data point on the Lachenal manufacturing continuum - if indeed it is a manufacturing or original acquisition date.

VAT will be levied on the invoiced price and shipping costs. However, if it can be proved that the instrument is more than 100 years old it may be exempt from VAT as an antique. Check what is needed on the paperwork to prove the instrument is an antique.

That's what I plan to use in a bass design I have.

The reeds in my Wheatstone bass are placed onto individual resonance chambers.

I think the combination of cello and concertina work well. Here is a recording of Gill Redmond (cello) and me (EC, shrutibox) playing for dancing.

I have a concertina in my resto pile with glued-in reed pans. The fact I haven't repaired it yet is because I don't relish the task of working out which glue has been used (not any natural reversible glue as I recall), and unsticking them without damaging the reed pans.

Thanks - super - that's the one.

Nope not this one. The one I'm thinking of is a leather supplier, but also provides concertina spares. I'll see if I can find the details.

There is another UK supplier - I can't find their details but something like Cornwall or Cornwell - maybe someone here can provide details.

The musical chainsaw is a thing - the Swedish/Finnish band Hedningarna used it good effect 😄

Since you're in Argentina and a lot bandoneons are tuned at A442, you might want to consider whether you fancy playing tango with a tango players - in which tuning to A442 might be worth considering. Just a thought.

Nope - I play Nordic traditional music

Yes - one issue, losing the reeds.

1923 model 12a 64 key tenor-treble

Can you post the serial number too. That will help in identifying the particular range of this 'tina.

The polska (and the family of related tunes and rhythms from across Scandinavia) - frequently written as 3/4, but that is only a convenience for notating tunes that can have short first beat short third beat stretched first, second and/or third beat any combination of the above straight even beats

I know this has been discussed before on this forum, but at security, whatever you do, don't mention the word concertina - concertina is a reserved word and may be considered to be a munition (concertina wire). I always tell the security personnel before placing on the belt, that I have a small accordion in my bag/box. About 50% of the time they want to manually inspect it, and very occasionally I get to play a short impromptu concert.

Some of these reeds are to be used in a bass I plan to build. And since I restore portable harmoniums, a few spare reeds are always needed.

Thanks Don, this is exactly what I'm doing.