Jump to content

SIMON GABRIELOW

Members
  • Posts

    792
  • Joined

  • Last visited

Everything posted by SIMON GABRIELOW

  1. Don't worry, you are not the only one who finds extraneous sound, around, a bit confusing, as I am not myself one for being able to always deal with distractions.. but it's part of most situations generally, and I suppose you have to get used to it. Perhaps you can find a quieter part of your pub, where you can give a recital, and literally verbally invite people over, to 'listen'.. in that way get a bit of distance from overly noisy corners?
  2. My ( late) Father was Polish, and he often improvised tunes ( on his button accordion) which I still have, very jolly loud Polka type tunes with a foot tapping rhythm. So, you can play them on whatever you want to, even tin whistle if you like.🌝🌝🌝
  3. I would say Anglo ( but then. I would as I use that kind myself).. as you have that left hand side to add lovely rhythm notes to the melody line ( with right side)... But I am sure others will have other ideas.
  4. Great tune, and I like the sound of that instrument .
  5. I think it sounds fine on concertina, particularly the lower notes, and contrast to higher reach. There's some demi-semiquavers later on, in that score, I noticed, so you may have to practice it.. go for it, I say.
  6. I thought that was a real little treasure of music with a lovely melody. Setting with blue sky perfect backdrop also.
  7. Just a quick note to say when making wax polish using gum turpentine, and shredded wax pieces, it is NOT heated up, but used cold throughout the process. The wax is gradually allowed to dissolve in the cold turpentine. Gum turpentine is the sort supplied for Artist paints and very pure.
  8. Environment can affect sound production very much also. For example, I often use my pleasent little back room to play tunes in, and the sound is flat, with no reverberation, or pleasent echo at all, and so I have to project the sound with more effort. And as the old saying goes, a tiled space .like I have in another place in my house, gives a lovely reflection of sound, with little effort, and so a complete contrast. I once tried out performing briefly inside a Chapel, with marvellous acoustic, providing me with wonderful clarity, and control of loud and soft tones, with deep echo. So, maybe these will affect your own sound production too.
  9. When I made a few veneered boxes ( and musical zither type instrument) I used a very tough resistant coating, that I believe was also used in commercial settings for hard-wearing worktops; horrible to put on, but so tough it has never needed recoating decades later. It came with a separate bottle to mix in that hardened the coating. If you are not too concerned about traditional finishes, then there are many modern alternatives, varnishes, polishes, that can be used equally as successfully these days. And could be removed if need be without harming the original surface. In the past, I have merely painted on a single layer of varnish then sanded over, to help fill in the grain, before polishing begins. Incidentally, for standard furniture polish you can make your own by using gum turpentine, and mixing in shredded beeswax blocks. It gives a lovely mellow colour to wood and nice scent when using it too. ( Possibly not recommended for concertina wood though) as wax polish would get into instrument.. just a nice polish to make generally.
  10. Why not use a good quality plywood type of board? Particularly for the ends .. then you could veneer the surface with a thin layer of wood veneer. Ply board can be bought in fine grade of finish, and I have used it as a base for making carcass for decorative boxes over the years, which I later on veneered.
  11. The fact it mentions 'glue' used to stick buttons on.. does not sound very promising. And this one on eBay shown, in particular, also mentions in description, the condition of it ( not being great)... But for spare bits to use then that is probably it's only purpose now.
  12. Woo hoo what a cheeky jolly tune! Great fun🌝😁..
  13. I think I can help a little bit here because years ago when I sent for my (Hohner branded) concertina.. it took a while, until they found just one in stock. later I found the address of M.Hohner company in UK. ( at that time ) was marked as being via Sutherland Trading, which was based in Bed was, Wales.I think they are still trading . That is assuming it is same company on your proposed concertina. My enquiry was years ago, so cannot say what they are up to now.
  14. I think the technique is something that comes with practice and is probably hard for a musician to describe exactly, but can best be demonstrated and practiced playing along with someone else. It will all be in the slightest use of fingers, and coordination.
  15. Thanks .. it was located deep inside the virtual archive of my old style boulder sized computer. Although it is written on paper too!
  16. Enjoyable performance..That was very cheerful music. And it's nice to hear someone else is Hand writing tunes.. maybe that's why they have that rhythmical drive in them.
  17. It sounds like you are having a fantastic time playing your music. But, concertina does not always have to be loud (unless, of course you want it to be)..it can be played in all sorts of ways, even very quietly too. Carry on with your Concertina playing as it seems you are already transfixed by the instrument. ((Maybe your neighbour will jig along to it eventually too!)..
  18. Yes it's a melodeon; one of the one row variety. I have a book somewhere showing its general range, which was for other melodeon accordions too. I think they are quite straightforward to play, which does not that mean you cannot get a good tune from them.
  19. One way I have found not to 'drownedout' the melody line with too much louder left hand chords, is to fractionally play the main melody line ever so slightly just before you add a chord. It is possible to do this, just before you add accompanying notes. And lifts the melody out to the ears, before powerful chords are added.
  20. Years ago, I went to what they call "I -Max".. cinema ( in Bradford)... With its huge massive screen,(well over 45 ft. Screen size).. and the soundtrack to the special 'giant: cinema screen, came from different parts of the theatre. One instrument might emerge from one side, and then others from different areas of the room space. Sound was highlighted, individually, from isolated parts of the place. It was more depth than stereo sound, and very impressive , at least to me. (Over 30 years ago!)..
  21. At the end of the day, the best way to hear realistic sound, with believable depth .. is to listen to a live performance, in a real setting. And so support those living performers as they give expression to their gifts in music.
  22. One way to solve the issue is to turn your two stereo speakers facing one left . And other one right ( outward facing)! Then it's sound will project out in the same general direction as on the instruments.. but generally with a tiny amount of audio reverb added even in mono, you can trick the ears into perceiving an illusion of depth quite easily.🌝
  23. I always like the Aussies and they have a real straightforward robust, no nonsense character ( a bit like people from the North of England ).. Anyway that was played with great feeling.🌝
  24. Here is something I recorded a couple of years ago, in audio only, and recently 'rediscovered'. [Hidden deep down in my big computer system gathering dust].. Autumn serenade [from a written sheet music piece of mine] is a straightforward melody [ unharmonized] at a moderate tempo. I thought it needed some images to go with the theme, and so I found a lot of colourful autumnal leaf images to stick in as a decorative motif.
  25. Just a thought; you do not necessarily have to play fast music or 'traditional' tunes on an Anglo, see it, and other 'free reed' instruments like many others, as a musical means of expression in themselves. There is no fixed rule as to what you can play on them; it is entirely up to the musician.
×
×
  • Create New...