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wim wakker

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  1. I frequently get emails from rather confused people that, based on info from C.net, think that we were going to introduce a Jackie type Hayden, and that the Wakker concertinas have accordion reeds, etc… When I saw this thread, I thought it might be a good time to get things straighten out a little… I apologize for misusing this topic for that…. We (Concertina Connection v.o.f.) will not be making entry level Hayden duets (like the Jackie and Rochelle), simply because the market is way too small. However, we will introduce an ‘intermediate’ anglo model (C/G Wheatstone and Jeffries) later this year. This instrument, the Clover, is comparable to the available hybrid concertinas (with accordion reeds), in both materials (European reeds, etc) and quality. It is based on our Phoenix model (but with accordion reeds) and positioned between our entry level instruments (Jackie/Rochelle) and our hand made instruments with real concertina reeds. We will of course offer the same trade in program for these instruments. Both our entry and (coming) intermediate concertinas are hybrids (accordion reeds). Although I designed them, own the rights, supervise the production, etc., we (my wife Karen and I) do not make them ourselves… we don’t make concertinas with accordion reeds. What we do make are the ‘Wakker’ concertinas, which all are hand made and have ‘real’ concertina reeds. They are not really new on the market, we’ve delivered around 70 instruments so far, but for some reason the assumption that they have accordion reeds persists… At the moment we make 7 anglo models (C/G, C#/G#, Bb/F, G/D and F/C), 7 English models (treble, tenor, Tenor-treble, Baritone and soprano), MIDI english and anglo models, and Hayden duets. Although the ‘official’ introduction of the W-H1 Hayden model will be in a few weeks, our order book for 2007 is already full (some people placed their orders way in advance). It is not true that we only make a 46 key model. We just reserved a few slots in our 2007 order book for the 46k model. We also make a large Hayden, which will be available late 2008 (we could not fit them in our order book any earlier). All our Hayden models are octagonal (8 sided), have raised ends, 7/8 fold bellows, short scaled reeds (as do the Dipper and Dickinson duets), hand made concertina reeds ( brass frames, steel tongues). It seems that the people that actually place orders, tend to go with the 46 key model, also for financial reasons…I’ve heard the same goes for the other few makers of Hayden duets with concertina reeds... Wim Wakker Concertina Connection v.o.f.
  2. You need the reeds to produce a wide and even spectrum in order to be able to manipulate the final sound of the instrument. This is done by vocing (shaping) the reeds. The more inner movement in the reed, the more higher harmonics it will/can produce. For example, this picture shows the note “C” with its harmonics. The objective is to have all the reeds produce the same envelope. Sharp sounding reeds have high harmonics with high amplitudes. You can see in this example that the higher frequencies have a much lower amplitude. The rest of the instrument, chamber size, wall structure, end material, will either absorb the higher frequencies (soft material), or amplify (= reflect) some of them (hard material). The design/construction cannot create frequencies that are not there. It works much like an envelope on a analog synthesizer. Accordion reeds have a completely different spectrum with a more gradual envelope due to a different swing cycle profile of the reeds and higher reed amplitudes. Some time later this or next year, we will make a different anglo model to tour Europe.. maybe the new Eir anglo. I don’t have time to make an extra english model. English are a lot more complicated and time consuming to make.. As soon as the Traveler leaves the nest, all our extra time, if we have any, is going to the new Hayden model, which is based on the E-1 (octagonal). The instrument is finished, we just have to organize production. Wim
  3. Thanks al, The instrument is just as ´hand crafted´ as they used to be in the old days… we only replaced some of the 19th century machinery and techniques with modern CNC machines which are faster and much more accurate. No they´re not . My wife Karen is in charge of the bellows production (100+ annually). She did not want any tools and machines in the photos…. We have a different way of making bellows, which is not only faster, but it allows us better control over bellows expansion tension, better fit (we have unlimited size scaling per 1mm and unlimited number of sides and folds). Wim
  4. The traveler anglo is (just about) finished. This coming week I will tune and voice the reeds a few more times. We plan to ship it to our Spokane WA address next week. Later that week it will go to the first ‘tourist’ on the list.. Specifications: serial #: 0766 model: W-A2-drone, with french walnut raised ends, long scale reeds (steel tongues in individual brass frames), domed metal keys/delrin® cores 6 fold bellows Layout: 30+1 key (drone) Jeffries C/G Weight: 1.02 Kg / 2 lb. 4 oz. Optionals: open fretwork, wide angle reed frames. Photo reportage of the making of this instrument: http://www.concertinaconnection.com/traveler%202007.htm Wim Wakker Concertina Connection v.o.f.
  5. For anyone interested: I finally uploaded the first photos of the W-E1 model. The instrument is available as 48 key treble, 48 key tenor, and 56 key tenor-treble. For more info visit our site. Wim Wakker Concertina Connection v.o.f.
  6. Depends on the type of instrument… Our ‘entry level’ line of concertinas: Jackie/Jack/Rochelle, and in the (near) future also our new higher quality hybrid Clover models, can be ordered through any music store interested in a dealership. We’re busy contacting music stores and have already several in the US which will also function as service stations. We’re doing the same in Canada. In Europe we already have a limited network, but this will also be expanded. The next ‘class’ of our instruments, the Phoenix anglos (with vintage concertina reeds), can only be ordered through Chris Algar in the UK. He has the exclusive rights. Our ‘Wakker’ line (handmade with traditional concertina reeds) can only be ordered directly from us, because they are all made to order. Having said this, we also have dealers that place orders…. Wim Concertina Connection v.o.f.
  7. We are slowly getting ready to organize the US anglo tour. If you’re interested in participating, May 1st is our closing date for applications. Just send me an email at info@concertinaconnection.com for an application form. I hope to finish the instrument within the next week or two. If you’re interested, you can follow the instruments progress on our site: www.concertinaconnection.com Wim Wakker Concertina Connection v.o.f.
  8. With standard I mean the different qualities (e.g. export, typo a mano, a mano) made by the different European producers. They all have the same characteristics and design. The only exception are Bayan reeds (which are not European), which compared to the European accordion reeds have a different spectrum. The lower notes sound wonderful, but the higher ones (especially the 8' outside the cassoto) sounds very thin and weak. During the last 50 years or so, the accordion market favoured a certain type of sound/quality (high harmonics) which forced the producers to comply in order to stay in business. The result is that the harmonic spectrum of all the different makers and qualities are identical, with some closer to the ideal spectrum (a mano) than other qualities.. There are (accordion) reed designs - pre standardization- that have a different spectrum and swing cycle characteristics... concertina reeds have an almost opposite spectrum. Which is probably the result of production and construction methods in the 19th century. In those days they did not have the knowledge and techniques to control the reed spectrum. In general, the better the accordion/bayan reed quality, the further it is removed from the concertina reed spectrum.... Wim
  9. Just a few facts: An instrument with a single plate will sound (almost) the same as with standard accordion reeds, because the way the reeds are activated is identical. I don’t want to go into details, but it has to do with the place the reed is activated, length of the air channel (lack of), vent angle, air flow strength, which determines the reed resistance, and therefore the reed curve, which determines the inner reed swing cycle. The final result is a reed with a large amplitude at low air flow, producing lots of harmonics.. which people recognize as the ‘accordion sound’. All the hybrid concertina makers use standard accordion reeds, except for Harry Geuns who uses reeds with a special ‘mensure’. A plate would not ‘improve’ the sound of a hybrid concertina, and would certainly not reduce the cost. On top of that, Geoff was right about the fact that reed plates are a pain to work on. They are actually quite common in free reed instruments, besides bayans, you’ll find them in bandoneons and harmonicas.. Harry Geuns, considered by insiders the number one bandoneon maker in the world, still makes instruments with plates... Regards, Wim Wakker Concertina Connection v.o.f.
  10. You’re welcome. I have no idea how many people are watching the progress…. I must say it is quite a hassle sometimes to have something to show at the end of a day… This traveler project is not synchronized with our normal production. It is about 2 weeks ahead. We’re just about to start a new batch next week (which will include the first Hayden model) when the traveller is halfway… In case anyone wonders, we’re still accepting applications for the tour. Wim Wakker Concertina Connection The traveler’s progress can be followed on our site: concertinaconnection.com
  11. Wim, It's probably too late to suggest this, but have you considered making this a world tour? Of course, by "world tour" what I selfishly really mean is - include the UK Dear Wim, I would agree to Gerry and ask if you plan a European tour including Germany ? Jo To be honest, I never thought of a European tour... but, if there is enough interest, why not. It will have to be later this year, maybe even with the same instrument. Originally I planned to keep this instrument in the US for tax purposes.. It would be, from a financial point of view, better to sell it after the tour as a used instrument in the US (ebay?) than sending it back to Europe... Wim P.S. you can follow the progress of this instrument on our site: www.concertinaconnection.com
  12. So far the majority of the players interested in test driving our anglo voted for Jeffries layout. So, Jeffries it is. I will start emailing the application forms within the next few days. I will keep a photo diary of the making of this instrument. I started today with selecting and sanding/cutting the necessary wood and metals. You’ll find a link on our site (concertinaconnection.com). I will (probably) update daily. Wim Wakker Concertina Connection v.o.f.
  13. Following Bob Tedrow’s example, I would like to invite concertina.net members to participate in the first Wakker anglo USA concertina tour. Bob was kind enough to advise me in setting up this tour. I’ll be following his example. I’ve managed to create enough extra time in our schedule to make a model A2 anglo, without affecting the waiting times of our customers. The tour will start (late) April. The instrument in question is going to be a standard C/G model A2 anglo with 30 keys + drone, raised french walnut ends, steel reeds in brass frames (traditional concertina reeds), parallel reed chambers, metal keys (metal cap/delrin cores), riveted action, and 6 fold bellows. I have not yet decided which tuning it is going to have (Wheatstone or Jeffries). I’ll leave that choice to the first (10?) people that sign up. If you would like to participate send me an email at info@concertinaconnection.com for an application form. Wim Wakker Concertina Connection v.o.f.
  14. Alex: You’re right. I was referring to tuning. Wrong pads, etc. can easily be removed. I don’t mind when someone wants to restore their own instrument. In fact, I spent a couple of hours each month emailing instructions on how to replace parts and regulate the action, etc.. For some reason people seem to be more worried about the tools to use than what they are actually doing to the instrument. I've had many questions about which file to use for tuning, but never about where to file on the reed. The tools are not important. It is what you do with them that counts… Years ago, about 30 minutes before I was to give a concertina/piano recital in Michaelstein Germany (I remember Steven Chambers being there too) , I noticed that one reed was really out of tune.. I didn’t bring any tools of course... I managed to open the instrument with the metal label on my key chain, and tuned the reed with my car keys… they were the only sharp item I had on me… The only tools you need to repair a Jackie/Jack or Rochelle are a small screw driver and small paring knife.... Wim
  15. It's mine. Actually, it was an old British Museum display case that Colin rescued and recycled, so I don't think too many antique dealers would be offended. He told me the display case was marked 1868 inside and was made of Spanish mahogany, originally from Cuba. The instrument has a mellowness of tone that few steel reeded concertinas come anywhere near, though Anne has a brass-reeded Wheatstone baritone that comes fairly close. Chris Edited to add PS: The wood isn't the only reason the sound is so mellow. The reeds are huge and the chambers unusually deep. It is not allowed to trade Cuban Mahogani since (I think) 1940 or so.. It is one of the more dense mahoganies. During the 19th century it used to be a popular type of wood for furniture and musical instruments. I have a Thomas Preston forte-piano from 1818 in my private collection made of Cuban mahogany. Nowadays Swietenia Macrophylla (Honduras) mahogany is the closest you can get to Cuban mahogany. I have not seen your instrument, but I bet Colin placed the reeds (especially the larger ones) 5-10mm from the front wall of the chambers. This would give the air column at the front of the reed more room, which also results in a rounder tone. You find the same sound characteristic in early instruments that did not have shortened chambers. The larger (deeper) chambers are also necessary to supply enough air volume to start the reed’s swing cycle. The use of mahogany in ‘higher’ instruments is not that unusual. Lachenal also used it in other models. We use it in our English treble model E3, and E2 baritone. The difference is in sound is not that big... I wonder if someone without any experience/training would notice the difference… it is more like a slightly different color of tone. If you compare a spectrum analysis of the same reed/instrument, with different action boards, you can see a (slightly) steeper drop off after the 3rd harmonic. The higher the pitch of the reed, the smaller the effect. That’s why it is usually used in lower instruments (more effective). The effect will be more noticeable with concertina reeds than with accordion type reeds. Concertina reeds produce less harmonics because of the frame slot shape. Accordion reeds produce (parallel slots) so many and strong harmonics, even a 50% drop would not be noticeable. Wim
  16. Dave, This observation is mainly based on experience and ‘general practice’ among makers of musical instruments. Mahogany has been used for over a century in lower instruments, like baritone/bass concertinas and also in the related accordion industry. When working on our new english and Hayden models, I did a lot of experimenting with different types of wood. My conclusion was that there is very little/no measurable difference between most hard woods (spectrum analysis), but both ajous and Sipa mahogany produce weaker higher harmonics. This confirmed for me this general assumption about mahogany. I know there is a difference in mahogany qualities and densities. The problem is that the superior Honduras mahogany is listed as a protected tree and not available anymore. I read somewhere (don’t recall where) that Colin Dipper once used an antique piece of mahogany furniture (probably Honduras) for a baritone concertina....a great source of stable high quality wood, but I don’t think antique dealers would approve.. Wim
  17. I am afraid it is a lot simpler… first of all, Both Wheatstones and Lachenals concertinas were mass produced. Certainly by today’s standards. At this moment Juergen (suttner) is the largest producer of ‘traditional’ ( with ‘real’ concertina reeds) concertinas in the world with around 40 instruments anually, and I believe we are number 2 with around 30 instruments. Compared to both Wheatstone and Lachenal who made thousands of concertinas, our production is peanuts… An other minor detail: when talking about Wheatstone and Lachenal, we mean the companies, not Charles Wheatstone or Louis Lachenal. They might have been involved in the development process of the early models, but I am sure they had engineers who designed/developed their models, just like today in the modern accordion industry. I know several owners of the leading factories, but non of them play the instrument, or has anything to do with the development of their products. They are managers, not free reed engineers.. The difference between Aeolas and Edeophones is mainly in different reed scaling and materials. I know that some people like to believe that there are all these harmonics produced by reedpans, special steel used for the reeds, and other ‘non controllable’ factors that create a unique instrument….. Unfortunately (?) in real life it is a lot simpler, as any free reed engineer will tell you. In short: reeds cut the air flow (they don’t vibrate) and produce a controllable spectrum (controlled by reed length, inner reed movement, reed curve and material, and place of the reed in the chamber). By the way, steel used for concertina reeds is around 48 Rockwell (also aeola reeds), which is not that hard…. The trick is to either filter the higher harmonics produced by the inner movement of the reed (not the reedpan etc.), or try to safe/amplify them. In general, dense wood (e.g. sycamore, quarter cut fine grained maple) tend to favor the higher harmonics. Softer or coarser woods (e.g. mahogany, ajous) tend to ‘kill’ the higher harmonics. When comparing an aeola with an edeophone, you’ll find that both have comparable reed scaling, although I personally prefer the edeo scaling (better equilibrium). The reed quality (frame/tongue tolerance) is always good in aeolas. In edeo’s they can be terrible or superb.. Lachenal used to have an incredible reed maker, unfortunately he was not the only one making edeo reeds… The chamber design and reed position is comparable in both instruments, although the chambers in a 12 sided instruments are a little more uniform. Also, both instruments have the same dense reedpans. The big difference between the 2 models is that edeo’s have mahogany action boards and frames. This filters the higher harmonics, which makes the instrument slightly more mellow. You can compare this to a band pass filter in a analog synthesizer. Lachenal cuts the upper harmonics, and wheatstone tries to amplify them. The action in an aeola is always better. The best thing to do with an edeo action is replace it. An other typical edeo problem is the glue. Over time bone glue does not hold on mahogany. Usually when you take the end bolts out of an edeo, the instrument falls apart.. Edeo bellows, both material and design, are much better than aeola bellows. We rarely have to replace edeo bellows. On the other hand, when we restore an aeola, we quite often need to replace the bellows. Both aeolas and edeophones are nice instruments… nowadays the quality of an instrument is not only determined by the maker, but also by the condition. I’ve seen many instruments destroyed by incompetent tuners, with the wrong type of valves or pads, or just regulated wrong. If I was looking for an instrument, I would not worry about the maker, just the condition, preferably still in high pitch. Wim Concertina Connection v.o.f.
  18. We have a couple of Jackies that did not pass our quality control. They should be fine for a project like this. Just send me an email. You can turn it into a tremolo instrument by moving the ‘push’ reed to the other side of the frame. Octave tuning won’t work, because there are no reedframes with octave reeds available. I would drill/cut a (few) large hole(s) in the action board with a leather valve instead of a bellows valve. The bellows folds are too narrow for valves. Besides, you won’t be able to close them all the way anymore with valves on them. Wim
  19. Concertina is not part of the music educational system in Canada and the US.. the teachers that use the Jackie and Jack are private teachers. I don’t know about that… I guess there might be a difference between international trade and local ‘relationships’. All I can say is that I’ve been working with our Chinese factory for over 3 years, and I find them trustworthy, prompt, and willing to meet quality requirements… In my experience this is very rare with businesses in the western world. Leather baffles will only cut the upper harmonics. Baritone concertinas are always slower than trebles, including high end instruments with traditional reeds. The reason is the chamber air volume and bellows capacity. Large reeds need a big air reservoir to start the swing cycle. If the chamber compression drops because the air flow needed by the reed is larger than the air supply to the chamber, the reed will have problems starting the cycle and maintaining sufficient momentum to compensate the reed energy lost. In other words… there is nothing you can do about it, except increasing the chamber volume (e.g. folded chambers). Like I said, as far as educational results are concerned, research has shown the opposite… In Europe students have to buy their own instruments, they are not supplied by schools. They just give a list of requirements.
  20. Regarding the Hobgoblin concertina Theo referred to, it is NOT a Jackie, and is not produced by ‘our’ factory. The Jackie/Jack/Rochelle are developed by me, and are produced under contract by ‘our’ manufacturer in China exclusively for us. Based on the information I have so far, I think that Hobgoblin actually sent a Jackie to (another) producer in China to have it copied…I guess they are not able to develop their own instrument. They actually are selling a Chinese clone of a Chinese instrument…. At this moment there is an instrument on its way to us for a more detailed inspection, but from the information I have so far, the instrument probably will develop a few problems after being played for while…that’s why we have certain parts made in Germany instead of the Chinese counterparts… no, I won’t tell Hobgoblin which parts. I hope they have a good customers service. Trade between China and the western world is not as primitive and brutal as m3838 likes to believe.. . Any (free reed) manufacturer in China or the western world will think twice before violating a contract. Especially in a small and specialized world as ours. There are several trade organizations with mandatory membership that can make life very difficult for parties that do not play by the rules. China plays a major role in the production of free reed instruments in general. A large percentage of Italian, German and other ‘European and American’ free reed instrument parts are actually produced in China and Korea, at different quality levels, some equal to European standards, and some at very low standards.. they also have an enormous internal market of millions of accordionists (there are more piano accordion payers in china than all free reed players of the rest of the world combined) that play on locally produced instruments. Some of them terrible, and some at professional level. They also have many universities/conservatories that offer a major in accordion at B.A., M.M. and D.M.A. level. The Chinese are no ‘idiots’ when it comes to free reed instruments. Re: Jackie/music education: I read that some people find the Jackie not suitable for (elementary level) music education… Strange, because the Jackie and Jack were developed for the (state) music education system in the Netherlands, for which I also wrote the music elementary/high school curriculum and the B.M.-concertina program. The Jackie meets all requirements, both musical and technical up to the grade 1 level (about 3 years), and has now also been adopted by music education institutes, private professional and amateur teachers in other European and Scandinavian countries, Great Britain, Ireland (the Rochelle only), USA and Canada. I think these music professionals will disagree with you. In fact, the Jackie is very popular in music education (we passed the 1000+ instruments a long time ago). The Jackie is comparable to a beginners flute, oboe, clarinet, that will teach both music and technical skills at elementary level and higher. I’ve seen many Jackie players outplay aeola players…In my own experience, I’ve played much of the concertina concert repertoire (Cohn concerto, pieces by Regondi, etc.) on the Jackie just to try it out. It does not sound as nice as a higher class instrument, but if you would check the music education literature, you’ll find lot’s of research showing no educational benefits from higher class musical instruments. In fact, children hear/experience instruments differently than adults. It is not uncommon for children to prefer the sound/feel/responds of a lower class instrument. There are many documented examples, ranging from violinists that prefer a cheap instrument over the loaned amati, or the many pianists that prefer the basic upright over the concert grand… Learning to play a musical instrument is about developing yourself.. the actual instrument plays a small role in the process. Wim Wakker Concertina Connection v.o.f.
  21. No, it has nothing to do with speed. Reeds with more mass require more air flow to start and maintain the swing cycle. The higher air flow which is required ( which is not just air volume but also flow strength), is provided by the reed frame vent, air slot in the reedpan and valve. You can compare it to a car engine. If you drive 50mph with 2 cars, one with a small and the other with a large engine. The speed is the same, but the larger engine will consume more fuel . The same with reeds, thicker reeds need more airflow to maintain a swing cycle than thin reeds. Wim
  22. Hello Richard, The eir model looks the same as the W-A1: black french polished raised ends, 30 keys, 6 fold bellows. The hand rails are of the traditional type. Compared to a ‘normal’ W-A1, there is a difference in reed curve/mass and the valves used. The result is an instrument that will not drop in pitch when played (extremely) loud. It goes too far to explain the relation between reed specifics and swing cycle results in detail. If you’re interested, I started with the first article on reed behavior on our site, just an introduction. The idea is to add different articles that will deal with free reed related topics. Anyone studying a free reed instrument at any university/conservatory in the world will learn these facts in his/her freshman year. In short, thin reeds: have a lot of secondary (reed) swing cycles (which produces harmonics) and need less air flow to start the swing cycle. Another important factor is the length of the reed. In general, longer reeds will produce stronger secondary swing cycles, especially when the reed mass is low (= thin reeds). Because of the low air flow needed, light valves are preferred. Heavy valves will interfere with the low air flow. A negative effect is that the reed will have problems dealing with a strong air flow, which results in a obstructed swing cycle (e.g. pitch drop, softer fundamental frequency/stronger first harmonic). On the other hand, thick (based) reeds have less small secondary swing cycles, and need a little more air flow to start the principal cycle. Because of this, it will need valves with a higher mass. Light valves will ‘snore’ with high air flows. There are other variables in concertinas that will affect reed performance, such as the vent on the bottom of the reed frame. This works as a pressure release. The moment the reed looses pressure, and the rate, will also affect the swing cycle. As I mentioned before, I am now able (3D reed frame production) to adjust this for each reed size to get the best cycle/air flow combination. The trick is to find out what a player wants with his/her instrument, and the playing style. In general, most players do not use high compression. For them ‘thick’ reeds will not work. The relation between reed thickness and pitch is relative, you can make two reeds, same size/dimensions but one much thicker than the other, and still produce the same pitch. However, the playing characteristics will be different. That is why makers tend to ask all these questions when you order a concertina. I know I can be difficult ( nag, my wife would say) when someone places an order. I want to make sure I have a clear idea of what they want. Wim Wakker Concertina Connection v.o.f.
  23. David: If you use platina (clear) polish, you can polish over the inlays. If you use black, you should go over the inlays with either Cripowa or Benzoe after each session. If you don’t have these hardeners/resins, you can also use a clean pad with ethanol/alcohol only. Just be carefull when filling the pores with pumice or Tripoli, they can scratch the inlays. Good luck Wim Wakker Concertina Connection v.o.f.
  24. Dirge: I don’t think your Maccann will ever be obsolete.. The Hayden/Wicki system just is the latest addition to the group of duet concertinas, it doesn’t replace any of the other layouts. Who knows, maybe in ten years from now, when there are plenty of Hayden instruments/players around, they might rediscover the Maccann system… I would hang on to your instrument if I were you. Our plans are for 2 Hayden/Wicki models (one large, one small) based on Brian Hayden’s specifications, which he was kind enough to sent me. The only problem I can see is to fit it into our schedule.. We believe strongly in short waiting lists. I know if I was a customer, I would not want to wait years for an instrument, but maybe I am just impatient… You can order an imperial Boesendorfer grand piano or a gola concert accordion, or even a Mercedes SL (the car, not a musical instrument…) and expect delivery within 12 months... I think long waiting lists are not a sign of quality, but more a sign of a production problem… anyway, if we can find room for a few instruments, we will add both models at the same time, if not, I think we’ll start with the smaller model. Bill: Thanks for the kind words.. glad you liked the instrument. About the W-A Eir: The model is not really a secret, it is just made exclusively for a dealer that sells our instruments in Ireland. The specifications are slightly different from the W-A1 model. It has raised ends, different reed dimensions and different hand rails. There is also a difference in the type of valves and reed setting. Actually you could say it is a W-A1 customized for Irish players…. Wim Wakker Concertina Connection v.o.f.
  25. We’ve expanded and reorganized our anglo models. We’ve added a G/D model (A-3) which is also available as F/C, and a 32 key model. Every model (except A-3) is available in C/G, C#/G#, and Bb/F. We noticed that many customers request layout changes, (from the 30 anglos we will make this year about 20 of them have altered layouts). Because of this, we allow for 4 free note changes. Hopefully in a few (2?) weeks we will add the english page. We just finished testing 4 models, divided in 2 groups: hexagonal 48 key treble and baritone, and: octagonal (with raised ends) 48 key treble and tenor. The characteristics of both groups are very different, (hopefully) catering to different groups of players. The test instruments are not suitable for photos. The first instrument that will be finished is a 48 key hexagonal. As soon as we have a few photos, I will add the english page, and will add photos of the other models later… We’re just about to take delivery of a new, state of the art, reed cutting machine. This machine is custom made for us and cuts reeds to incredible accuracy and without creating heat or stress to the steel. Together with new reed frame (shoe) vent designs, I expect even better performance of our reeds. (I’ve adjusted the vent angle and depth to the reed size, generating better air flow release and reed amplitude at lower air flow). This was possible because our frames are cut in 3D. Finally, with the new reed cutting machine, we are able to produce faster, which means that people on our waiting lists might receive their instruments earlier than expected. New models I am working on, and will be available in 2007: The first new model is going to be a Hayden duet. The design (reedpan, chambers, etc.)duet is going to be based on the octagonal english. Other new models will be a miniature english and anglo, and a 38 key anglo. Wim Wakker Concertina Connection v.o.f.
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