wim wakker

Hello Wakasaobama, You need to turn off the midi "all note off" function on your instrument. This is a default setting which can be activated by pressing the air button. It seems that it is in the "on" position on your instrument. If you could send me an email, I'll explain how you can turn it off without having to add washers..... Hi Roy, Actually that should not be a problem... we have several customers in your area. I am sure someone would be willing to show it to you.... Wim Wakker Concertina Connection

You don't have to call Roy, or me.... you can program velocity/expression yourself on our MIDI concertinas. (Almost) every MIDI function for both channels (multi timbral) can be monitored (eg. signal quality, debugging, etc.) and programmed by the player. Including custom lay outs. Tethys is not a software house. They develop software AND hardware solutions for businesses, including multi nationals. A team of professional developers/programmers worked over 2 years on our MIDI system. I never had the chance to try a Whiteley MIDI ( would love to), but several of our English customers have.. Wim Wakker Concertina Connection v.o.f.

First of all, thanks for the positive remarks. There are some questions/remarks in this thread I think I should shed some light on. There is no page yet... The Rochelle is finished, at least the design. The next step is to finish the proto type and send it to the factory. After that it usually takes another few months for the instrument to be available. There is a difference between the Phoenix and the W-A models. The Phoenix anglos use (vintage) standard reeds (Wheatstone, Lachenal, Crabb, etc.) The W-A models have long scale reeds, which have a much tighter fit (=better swing cycle) need less air, produce more cycle amplitude (= volume), are more stable ( do not 'drop in pitch' when played loudly), and are much, much faster. The W-A also has a better reed size/pitch relation (16 different sizes to cover the whole compass) compared to most vintage instruments. I also use different types of wood in the W-A models. An other big difference is that the Phoenix is made exclusively for Chris Algar. I (try to) organize our schedule a little different. We make around 35 instruments annually (MIDI, Phoenix and Wakker models) besides all the restorations and repair work. In order to avoid extreme long waiting times, we only accept a certain number of orders for a certain model per year. As far as the W-A anglos are concerned, as soon as we have 10 orders for 2006, the order book for this model is closed, until 2007. We do this with all our models. This means that the person that 'gets in' knows he will receive his instrument within ca. 12 months, and not 'two years after he passed away...' Normally we have a reserve list for one or two extra instruments, in case we're ahead on schedule. But, since we're planning a 4 week trip on the west coast (US) this year, I don't think we'll have time for an extra instrument. These instruments are not Geuns-Wakker concertinas. The (Harry) Geuns-(Wim) Wakker concertinas have accordion reeds and are different in design. Harry Geuns is considered to be one of the worlds leading bandoneon makers. Besides bandoneons, he also makes a limited number of concertinas with accordion reeds for us (Concertina Connection). In fact, our part (actually Karen's) is limited to the bellows and sales. Sorry about this... I know our site (FrontPage) causes problems on Macs. This summer I hope to put a new site together. Wim

I finally finished the update of our site, including our traditional (with ‘real’ concertina reeds) anglo models: concertina connection .We reserved time in our 2006 schedule for ca. 10 anglos. We have more traditional concertinas models to be added this year, of which one Wicki/Hayden and one english, both with traditional reeds. Other new models are a MIDI Wicki/Hayden and the Rochelle anglo, comparable to the Jackie and Jack. Wim Wakker Concertina Connection v.o.f.

Thanks for the compliments I am glad to hear that others also think it turned out OK. Personally I was quite happy with the final result. Especially considering the cost limitations on materials and production. It took me over 6 months to get the Jack the way it is now. The playability of baritones (and other concertinas) is not all determined by the reeds... there are also other aspects that affect the 'speed' and sound quality. If I am right, the sound and reed reaction time of the Jack should improve over time (100+ playing hours). The amplitude of the reed swing cycle will/should increase, which will result in a richer harmonic spectrum. We see the same happening with Jackies that have been played for a while. The last addition in our 'entry level family' is going to be the Rochelle, a 30 key anglo. I've been working on it for quite a while. It has its own problems, different from the Jackie and Jack that I am trying to solve. I hope to finish the drawings this month. It seems to take about 6 months from the time I finish a model to the moment all the testing is done and the final product is available. Wim Wakker Concertina Connection v.o.f.

For those who are interested, I've added the anglo MIDI photos. Concertina Connection P.S. We just introduced Jackies brother.....the JACK baritone english concertina Wim

I just updated the MIDI page on our site. I added a section on MIDI updates. Photos of the anglo will follows. I have almost finished a Macassar-ebony ended amc-30, which I intend to add in a week or so. The MIDI page will ‘grow’ over the next few weeks. We’re still fine tuning minor details. Wim Wakker Concertina Connection v.o.f.

Finally, after almost a full year of problem solving and fine tuning, we're ready to start production of our wireless MIDI concertinas (both anglo and english). See our site for details: Concertina Connection Wim Wakker Concertina Connection v.o.f. P.S. Anglo photos will follow

We [Concertina Connection] also have a few new instruments coming out this year. Starting at the ‘entry level’, I am working on a baritone Jackie. If every thing goes according to plan, the first instruments will be available in (late) March. The price will be about the same as the treble Jackie. The instrument will also be available through our dealers. The next instrument that is almost finished (finally), is our MIDI English concertina. We are almost done testing the prototype, which seems to work perfectly. The instrument can be hooked up to a computer or synthesizer/keyboard etc. The quality of the MIDI english is comparable to the Geuns-Wakker concertinas (all leather bellows, french polished ends, traditional metal keys with wooden core (wheatstone type), but will be priced (much) lower. The instrument plays like a normal concertina, with normal bellows action, just like on a traditional ‘reeded’ concertina. The midi connection will (probably) be wireless. The instrument is aimed at concertina players, rather than MIDI technicians. That is why it has preset functions like a performance (single channel) and layered switch, an octave switch (changes the instrument from sub bass, bass, baritone, treble to soprano) etc.. Production starts in March. The first series will probably be available in May/June. We hope to finish a comparable anglo model a little later this year. The Geuns-Wakker concertinas (a joint venture between Harry Geuns and the Concertina Connection) are all updated: new design and different reeds: more amplitude, faster... The first orders (anglo) will be finished late (fall) of 2004. Wim Wakker Concertina Connection.

Allan: The steel reeds are probably original, unless it has a mix of steel and brass. Steel reeds were not that uncommon in the 1850s. To find a concertina with all the reeds replaced is rare. If your meantone instrument has been revalved and ‘fine tuned’ during its life, chances are that the meantone(ish) tuning it has now is not the original. There have been several meantone systems in use over the years: Mersenne (2 variations) Meantone with 2 sharp fifths, etc.. If someone tuned it during the late 19th/early 20th century chances are that it has strong ‘equal temperament’ aspects. Tuners used to ‘up date’ the tuning to the present standards.. By the way, they did not use equal temperament during the 19th century. The standard, after/besides meantone was the ‘well tempered’ system of Thomas Young. Young tempering changed during the 19th century, and got more ‘equal’ towards the 20th century. I tuned my 1818 forte piano to the 1799 Young variation, and my 1853 grand to the mid Victorian Young system that was known in England as ‘Broadwood’s best’ (used till the late 1870s). I assume mid Victorian concertinas were also tuned to this variation. I tune early concertinas (pre 1850) in meantone, and instruments up to 1860 in Young. It really makes a difference. Young gives a lot more ‘color’ than equal tuning. Equal temperament was considered extremely boring in those days. I am sure you know of the ‘famous’ mistake in the Grove Dictionary, which, I believe in one of the earliest editions, mentioned that Bach used this ‘equal temperament’ for his Well tempered Klavier… wim