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Everything posted by SteveS

  1. Hi Alex Sadly no I didn’t win it - I also thought it sold for too much given the unknowns. Steve
  2. Thanks Daniel for the heads-up. This is certainly distressed and needs at least new raised ends, by the look of things. I can make raised ends - so could be a good project.
  3. Real tortoise shell (hornbill turtle) can not be exported under CITES.
  4. I agree with the approach suggested by Theo - don't use ant glue but a sliver of hard wood inserted into the hole, then try pushing in the post using a tool like that suggested by Theo. I keep a supply of ice lolly (popsicle for our non-UK brethren) sticks - these are usually made of beech and are easily obtained.
  5. Thanks Alan - I’m after an instrument with 55 keys minimum so I think I’ll pass on this one.
  6. Thanks David, and thanks everyone for your suggestions. I downloaded forScore and it is pretty good and seems to offer everything I’m after.
  7. Yes, EMC is one of the issues that contributed to my canning the MIDI 'tina project - it simply wasn't viable.
  8. The idea of "real" feel to an instrument is difficult one - especially with concertinas. If we're basing instruments on lower quality instruments that may keep the price reasonable - but will they be frustrating to play given that the likely users of the MIDI 'tina are experienced players used to better quality instruments. If using better quality instruments, who wants to modify a good vintage instrument? One solution is to cooperate with one of the instrument makers - an easier proposition in theory with the Anglo, but difficult with makers of EC - in any case the length of waiting lists may well preclude this option, and may not yield an instrument with all of the capabilities to feel like a "real" concertina at a reasonable price and within a reasonable timeframe. The price tag will have to include an element to recoup the outlay of R&D etc. With MIDI accordions (not necessarily melodeons) there is an economy of scale to consider - there being far more accordion players than concertina players in the world.
  9. It's not just the building of an instrument - a considerable amount of time and money must be spent on the R&D, prototyping, productization, and whole host of other things that must be done before a product can be ready for deployment in the wild. These elements are just not economically viable given the likely very small user uptake of any instruments.
  10. Thanks Rob Yes sometimes I need just a little reminder of a tune in a session - and the iPad Mini is great alternative to carrying around my ever increasing folder of scores. S
  11. Thanks Jim - the iPad Mini 4 is the right size to keep in my concertina case - I'll take a look at ForScore.
  12. Yes I know - there are some good deals to be had on the iPad Mini 4 right now - and for music scores only I don't need loads of power. The iPad Mini 5 does look like a super bit of kit though.
  13. Having carried around for years a folder containing all of my music scores, it's time to upgrade - I'm getting myself an iPad Mini 4. Which apps do folks use for organising their scores? My scores are PDF, but I also have ABC variants of most of them. I'd like to be able to organize in an app and to be able to easily pull out a score at a moments notice (eg in a session). Also, the ability to arrange scores in a set list would be nice too.
  14. Bump Anyone got a distressed Crane they might fancy parting with?
  15. On reflection, what I found when I demonstrated the MIDI concertina was that there was an apparent lack of appreciation or understanding for the ability and versatility the MIDI concertina offered as a MIDI input device. The MIDI concertina is not about replacing the traditional concertina, but is intended as a supplement to it. I play concertina, and not keyboard at the time of developing my original prototypes. MIDI was a world of possibility that was lost to me as a concertina player. I saw the MIDI controller concertina as a means to explore the world of MIDI and alternative sounds without the need to master the keyboard, or other input device. The concertina as an input device has a number benefits deriving from its physical design. The ability to not just indicate which MIDI notes are to be played, but also the ability to bend pitch and control volume I demonstrated to great effect. The ability to assign keyboard note patterns, keyboard splits, left/right side difference effects (on EC), and multi-instrument part playing (EC and Anglo), were all fun to experiment with. I was even experimenting with key velocity effects, since the way I'd constructed the optical switches allowed this feature.
  16. I've had similar issues with concertinas I've restored and have replaced the bolts and receiver plates with modern threads - I felt that rather the replace just a few bolts it's better to replace them all for consistency. One tip, on reassembling put a bit of graphite on the threads - don't however use a liquid based graphite lubricant.
  17. Try Wim Wakker http://www.wakker-concertinas.com/
  18. I built my first version of the MIDI concertina in 1990. Whilst the first version had bellows and mechanical switches for the buttons, I realised several things which I implemented in later versions: - Mechanical switches were too unreliable - I eventually exchanged these for optical switches - each one being separately setup since a common setup circuity didn't work and was difficult to configure - the need for independent optical switch increased the complexity of the circuitry and cost, but it was much easier to configure. - Using bellows movement is an essential part of concertina playing, without which playing the MIDI concertina becomes a life-less experience with no expression. Sensing bellows movement is also vital in any MIDI Anglo variant. Wishing to emulate a traditional concertina I implemented a pressure sensing mechanism that worked to provide bellows dynamics - this worked well, but was difficult to calibrate - and each bellows I tried on the bench required a different setup. I did get this working and a later prototype did successfully demonstrate the behaviour of bellows pressure changes and its effect on the volume and pitch (pitch bend was a surprising side effect). In the years 1990-1994, I demonstrated both EC and Anglo variants in their various prototypes stages on a number of occasions to concertina meetings at various festivals (eg Sidmouth) and it was not received well. In the early 1990s there was clearly little interest or appetite for an electronic concertina. I could write a whole book on my experiences on developing the MIDI concertina (and MIDI melodeon). Having spent an inordinate amount of time with significant financial outlay, I shelved all plans for the MIDI 'tina. Sadly though the story doesn't end well, and I've now converted back the digital 'tinas to analogue.
  19. It may not be the case with this 'tina since I'd expect the buttons to be fairly uniform in dimensions, but on some 'tinas the buttons are different lengths, with the cross hole at non-uniform locations. This may have come about with variation in production and the use of out-workers to make buttons. In this case when moving buttons, it's necessary to adjust not only the number of felt washers to regulate the travel of the buttons, but also in order to ensure the buttons are all the same height, the brass action levers may need to be adjusted. This is also the case when replacing worn pads.
  20. I have a potentially rather nice 'tina with glued-in reed pans - haven't yet figured out a way of releasing them - but then the 'tina is some way down the resto pile so may get around to it someday.
  21. I have a 56 key extended Edeophone with riveted action - not sure if the action is original though. FWIW it also has alloy reed frames, and was my main squeeze for many years. It has replacement bellows by Rosalie Dipper.
  22. Fill with slivers of veneer gluing into place with hide glue (makes for a reversible joint). Use a sharp knife to level the slivers of veneer. I prefer not to use filler for this kind of repair.
  23. Good idea to convert by building new ends. The original ends will need to be clamped up after swapping out for the Crane ends so as to prevent warping. I guess a flat board into which suitable captive nuts, similar to those on the original 'tina, would do the job.
  24. I use upholstery velvet for case lining - here
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