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Johann

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About Johann

  • Rank
    Chatty concertinist
  • Birthday 04/20/1951

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  • Website URL
    http://elektor.htl-leonding.ac.at/~jp/
  • Yahoo
    J_pascher

Profile Information

  • Interests
    All about building reed instruments
  • Location
    Upper Austria

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168 profile views
  1. It would work at least for a short time but not recommendable. It is not a proper way to higher the pitch.
  2. Sorry, for the case tu get it up just file the tip or in the last quarter of the tongue. If the tip is already very thin then this may be a problem to get it up in pitch as much you want. Best regards, Johann
  3. Hi don't be too scared to file the reed to the lower pitch. Use a trim to support the tongue. File the reed more or less along the hole length but not on the tip. You may use sanding paper glued to a stick of wood instead of the file. If the reed gets stuck in the slot adjust the tongue. But clean the edges of the tongue first with the file as well. Do little for little and check the pitch so yo don't get to far with the filing. Check the pitch of other notes first to see where the other reeds are. May be the hole instrument is a bit off tune. Is not a lot of work to tune one reed a semitone lower, and usually this should be possible. Best regards Johann
  4. Hi all, I did get this concertina as present. I did want one for a long time and now it is did come true. Would like to know when it was built could not find any info up to now. I don't sell this instrument but would be nice to know how much i would have to pay if i could get a similar instrument. The Instrument is in quite good condition and playable. All key work well and all Valves look good to. Her is the link to my photos so far. https://photos.app.goo.gl/sDp32K4yCnw2o1Vt8 Best regards, Johann
  5. Hi Mustafa Umut Sarac, i don't think coating reed tongs is possible, even if the reed would function properly what about tuning? For moth harmonicas stainless steel, bronze or nickel silver is used. Frame material can be from the same type or brass. Special long plates are made for customers with the supplied details and drawings. The only one i know who is supplying smaller quantity to end users is Ladislav Titelbach. (Harmonikas) For standard accordion reeds special steel is in use. Frame material can be aluminium, brass, zinc. Table of reeds: https://www.harmonikas.cz/admin/files/ModuleText/4-sortiment-hlasu.pdf Table of dimensions: https://www.harmonikas.cz/admin/files/ModuleText/9-sortiment-velikosti.pdf https://www.harmonikas.cz/en My be some one else can supply other dimensions as used in Bandoneons. Best regards, Johann Pascher
  6. First i would not think reed maker did use especially made steel or Bronce Alloys for reeds. Best source for reeds war clock springs. Think also abut it that a lot of reed makers war mechanics that war clock maker as well. Bronce Alloys was the usual stuff that ware in use for Years for Cannons. Best regards Johann
  7. Different tongue material sound different, if one makes reeds with the same dimensions and stiffness. Material density varies. Do tests your self. I have made reeds from different material in the past. Youngs modul is in reality a shaped curve an not a exactly equal shaped line on on different Material: http://www.setareh.arch.vt.edu/safas/007_fdmtl_24_youngs_modulus.html Material Density Rho is cant be the same for different Materials: https://en.wikipedia.org/wiki/Density So to make a reed sound on the same pitch you maust change the dimensions or the taper or profiling or all together. But there are alt of other criteria to make a reed sound different. A lot of people wat to make reeds sound as reeds sound in old Instruments but relay we will never succeed. Every reed set has its own individual character. That may be very close in sound to other but never exactly the same. There is fa to less modern testing on the subject. Best regards Johann
  8. If some one ever traded with Jurgnes Cicarelli be warned! Here ist the thread i posted in melodeon net. http://forum.melodeon.net/index.php/topic,21356.0.html Best regards, Johann
  9. I did use Aluminium and brass frames in accordions. As for me as a person who works with reeds i would prefer brass reeds in most cases if i look at it in the long run. I don't hear a difference that i really can point down to the different frame material used. Especial on piccolo reeds brass is used and chromed, to give the same appearance as aluminium. The reason is because on the tiny reeds brass is better to work with to get the same precision. On very low pitched and big Helicon reeds Aluminium is in most cases used but i also did tray brass and carbon. My test did not give any noticeable difference in sound if the same tongue and Box was used. But it is much harder to work with farms that are not as rigide as others. If frames are screwed to the chamber some tension is put on to the frame that may lead to tounges not vibrating freely as the should. Corrosion on some aluminium alloy may be a problem. Usually in very old Boxes this can be the case but never with all, especially if the are not waxed. Brass reeds are in most cases in much better condition in very old boxes as other frame materials. For me the sound my be affected to a very little amount but i would not be able to tell how and how much. This differences i notice my be well caused by other differences in reed sets as well. Every set is a little bit diffident even if it is totally comparable. For sure is, that brass reed sets sound in average nearly or totally the same as comparable sets with Aluminium frames. If you don't mind more mass for a Box and the added price difference go with brass reeds you want regret it. In the long ran the reeds may be looking as new after 100 Years only changed in color. If the tounges also stays without rust then you are lucky. In most cases we all will be well of also with aluminum reeds lasting a human lifetime as well. Yes and a combination of aluminium for low pitched reeds and brass for higher pitched reeds would also be a nice choice and no problem to mix. Especial for reeds sounding higher as 800 Hz. Brass would be preferable to work with. Best regards, Johann
  10. Is anyone here who did also deal with Jürgens Chicarelli? I did bay reed sets several times from hin but this man is a real pain if one wants to get the order fixed. Every time some reeds war missing or wrong so i had to fix it may self, because he did not send any replacement at all or the missing reed without further charge. This time i ordered tree sets of reeds (510 reeds) but 60 reeds (accompanying reeds for chords) ware missing "top quality" for 1595 Euro. If you want that i tell more abut the trouble i had before with hin pleas ask. I post this so any one else me be aware of the trouble he may cores. He asks for paying in advance for one 3rd of the final cost. Best regards Johann
  11. Johann

    Reed Vent Widths

    @Heavyweight Boxer Thanks for sharing your experiences! there is not much i would be able to add to what you did share. Is all a question of compromice and I can understnd that with your type of instruments one has definatly different limitations or gols. Best regards, Johann
  12. Johann

    Reed Vent Widths

    Nice to and interesting to read your Comet Dana, i Go along with you if i am talking of totally different instruments. "Adding width to a reed increases it's spring tension, but is not likely to give added effect to the air flow enough to balance the extra pressure needed to deflect the reed. To bring the reed back to similar playing pressure, the profile needs to be adjusted to increase the flexibility." So it is in reality because the person working with the reeds compensates by changing the flexibility of the reed. But If profiling is absolute the same or from physical few point if we had a reed bar without profiting all the same thickness then the stiffness doubles if the width is doubled also the weight is doubled so the resulting pitch is the same. Sure this means it needs more power and air passing through to drive the reed to the same amount of amplitude resulting in doubling the volume but as explained before this means not that we hear it as loud as expected. My experience with very low pitched reeds in accordions is: (I speak of reeds in the range of: 27,5 Hz to ca. 123 Hz Subkontra-Oktave: (16,4 Hz -30,9 Hz) Kontra-Oktave: (32,7 Hz -61,7 Hz) Große Oktave: (65,4 Hz- 123,5 Hz) https://en.wikipedia.org/wiki/Octave#/media/File:Common_Octave_Naming_Systems.png ) It makes a lot of difference in volume if the size of the reeds are changed, even the stiffness of the reed and the balancing of spring stiffens to the weight may be changed to compensate some negative aspects. But keep in mind the Frame is also of importance if we want to get more volume. Take a normal accordion bass reed and change the thickness of the frame by leaving all other thins as the have been. Then a thicker frame will result in more volume if pressure of air is increased. Dynamic range is nearly doubled by doubling the thickness of the frame. If this would not be the case i had no reason to put in big helicon reeds to get the sound we want in Austrian diatonic accordions. Still there is more to it as the reed but we talk here abut the width of the reed if it results in more effective heard Volume or not. Best regards and keep to the advice Dana has given by making a new reed set. Johann PS: "or already loud low reeds would hopelessly drown out higher ones, which as any duet player can tell you is enough of a problem as is." exactly my saying, but it is a very subjective question what one wants. I make accordions with normal bass reeds or even smaller ones if asked for it and with Helicon reeds. One Musician would argue this way and an other the other way round. My Facbook acount: https://www.facebook.com/johann.pascher google+ https://plus.google.com/u/0/116672106411032803534
  13. Johann

    Reed Vent Widths

    Hi Deve i take this as the normal condition that "flexural rigidity in the bendy length of the reed balanced against the mass at the" is in optimal state. sure this may not always be the case and one has to optimist as you explain. Of cores it can be the other way round as well. If if the reed is already to flexible one cant do anything as replacing. If you compare reeds withe the same flexural rigidity and mass then one can compare volume in relation to widths. There is also a bit of possible variation depending on the type of musician, especial in accordions newer reeds tend to be stiffer as older reeds in rather old accordions. And the exact opposite can be noticed stiffer reeds can produce more Volume in accordions but the want be as fast in talk reaction and want speak as as easy with low pressure. So in the end it is not so easy to answer whats best it also depends on the instrument and the plying style of the musician. So i understand that you as i can do a lot to reeds to make them suitable to the accordion and the musician. Talking abut how width contributes to volume is an totally different thing. Sure the type of profiling also my contribute to more or less volume but in the ed we don't have a lot of choice in variation the profile at a given length and pitch. Best regards Johann
  14. Johann

    Reed Vent Widths

    Hi David, Yes it is. I go down to sub contra Ab 0 = 25,9 Hz Usual the basses are not as deep on this Instruments.
  15. Johann

    Reed Vent Widths

    This may be different in reed organs, but i do a lot with very low reed and big size of reeds in styran type diatonic accordions. It also depends a lot of the size oft the reedchamber. But for sub contra basses it is very difficult to get them speek as fast as mid range reeds. And it is not a question of the width. Best regards, Johann
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