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    music and instrument repair in that order. I play guitar violin mandolin, english concertina and cba. I am a guitar restoration and repair person and a performer. I play Jazz, Pop and old Jewish folk/dance music.
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  1. Lachenal Edeophone for sale. Recently restored by Wim Wakker. Repadded, tuned etc. bellows 100%. In top shape. Its a good one. $3700. takes it.
  2. Goran, Well I can only relate my impressions to the two instruments. Both are in Perfect working order and the replacement action is as was said, smoother and a*bit* quieter and with a lighter action. I have been told that the Lachenal action requires heavier springing so as to keep the lever arm and hook/post together, when they are sprung lighter they will tend to "clack". Either action is perfectly usable its possible that the Lachenal action would last longer than the Wheatstone type. But the rivited post action feels better. Most of us will never play enough to wear out either action type. These conversations always remind me of guitarists talking intently about string thicknesses. Its fun but always seems silly. AW
  3. Hello All, I have a couple of Edeos one is a treble with the orrigional action the other is a TT with Wims action. Both are fully restored, tuned, padded, valved bushed etc. No contest I pick up the TT every time though I prefer the tone of the Treble. The trebles action will last another hundred years but I will have Wim replace it well before it wears out. The replacement action is a blast, as in the case of Edeos it allows for a lighter spring action and is a bit quieter, but its basic attraction is the feeling of smoothness. When the tenor in question came up on Wims site I inquired and he said the instrument would need a lot of work/time befor it was done, I suppose the action was replaced due to wear. AW
  4. JN, Crystal mics ! Very retro, I think that the Astatic brand in the states were "crystal" I don't know that I have ever seen elements of that type that were small enough to fit under the covers of a concertina. Its long ago and far away but does anyone know if such things are still made ? Aren't crystal elements the type that were used in the bass ends of accordions and were often found suspended in the bellows of bandonions ? There are also Accusound mics a UK product that have 2 condenser type mics on small booms that are attatched to the esterior of the ends. the element is then 8to 10 inches from the ends which lessens the proximity effect .has anyone tried these?. JN am I correct in understanding that you have just one 1/4" lead going to the amp or do you have two , one from each side. If just one how are the sides connected . Thanks,AW
  5. braxton, it may be that you will have the same effect even if the mics are under the end. the mics will still be closer to one reed or another. some folks have suggested using two mics on two stands. thats real restrictive. anything you find out will be of real interest to me. everything leads me to think that the concertina as a bear to reinforce. i have been using my EC in duo work and its so loud i need to back off the mics, but with a drummer, ouch ! everyone seems to use the velcroed condenser mics, Button Box sells a set that is intended for concertinas which many folks report work well, they may be more sutable than your lapel mics. best luck, AW
  6. Hey! Just listen. A pal of mine got back from a stay In Australia a few days ago and having booked a couple of dates gave me a call to help cover them as a duo. So he came by and played his current tunes into my MD player and gave me his last CD. He chose 11 tunes on Wed. and we did the first show Friday. He had chord charts but I chose not to ask for them. I just sat and listened to them twice and then picked up whichever instrument I was going to use on each tune, and learned them . Every one is right , just listen till you can sing the part ,*then* find it on the instrument. Works everytime. Often by the time you find the tune on the instrument you have also memorized it. Then its a matter of recalling the fingering patterns. No mysteries. Note reading is usefull when you have to play something very long or very complicated in a short time. Apart from that is can be a distraction and *can* slow things down. In a professional "orchestral" situation the side "men" can read if they must. I'm glad I read well, it saves lots of time being able to sight read at work.But if I perform I am more comfortable if I have memorized with out the use of music *if Possible*. We're not talking major concerto's here. Tunes and songs of various sorts. Light Entertainment. Enjoy the process. AW
  7. AA, I think I'm Al, that would be me I think. Cheers, Al W.
  8. GR, I like your idea of holding the thumb and 4th finger on a table top and checking the trill between the various fingers. clearly 1-2 is the strongest, 2-3 is marginal, 3-4 just about useless . when the 4th finger is lifted and allowed to follow the 3rd finger, function seems to improve for the 3-4 combination. I find it interesting that the 1-3 combination is stronger than the 2-3. Not revelatory but interesting. AW
  9. Jim sayith this : Utter Crap. I don't know, I think that GR was pointing out that if one uses the 4 th finger the the instrument becomes less stable on which ever end the 4 th finger is being employed and the temporary instability requires that the player compensate "somehow". I don't find Gorans statement to be so provocative. When I employ the 4th finger or simply leave one or the other out of the rests, I do find that my bellows control is lessened and I have to make adjustments that could impact my performance. My playing level is not high so it may wll be that with practice I will overcome my own limitations. I don't notice WW having any trouble at all employing his 4th finger. He seems to use it and then replace it in the rests and I see no evidence of bellows control problems or volume loss from loss of bellows pressure or pitch instability, but he has an uncommon command of the instrument, to say the least.Al W
  10. R, I would love to know what the titles are. My instincts tell me that these might be the perfect choice little encore classical things, they will I bet be very usefull. Lets here more about this. It will also be interesting to see the style of arrangements, how the line writing is handled, athe voicing choices for the show tunes. I personaly don't need them typeset. A photo copy, anything, a scan , whateva. Thanks, AW
  11. R.M., Whats the disposition of the arrangments A.A. mentioned ? Have they been "donated" to the ICA ? Can they be accesed ? Are any of them of public domain tunes ? It would be fun to compare them to the material in DWMB. The selections might be more idiomaticly 'merakin and of later works from the B'way stage, any movie themes, pop, kitch, novelty ? . What are some of the titles ? Quite interested. AW (forgive the recitivism...
  12. AA, Thanks for all the information regarding BM and his teaching methods. I wonder if any of his arrangements of the " light calssical " or Broadway show tunes are kicking around in any of his former students collections ? His use of Kreutzer is interesting. Its usually seen as preperation for the business of concertos, and often is a "lifes work" for a violinsit. # 14 is not an easy etude on fiddle. I will find the Wilhelmj. The concertina will help me "take two birds with one stone". I tend to agree with the practical approach and the idea of avoiding rule making. So if BM was unaware or disinterested in the 19th cent English tutors as you say, what were his thoughts about the 4 finger style. Did he ever employ the small finger for chords ? Lines ?, or was he always in the rests with his "pinkie". At the concert at the grad center last year I was careful to watch WW as he played his selections and seemed to notice that when he used the 4th finger it was only in one hand at a time, which would seem to be necessary to stabilize the instrument. Does Alsepti or Rigondi ever actually asign one finger to each row , or is it more of a 4 on demand type of thing. The examples in Contemplation would seem to indicate the later.AW
  13. AA, When refering to non music readers I was "fishing" for your recomendation for a beginers tutor for folks who might be thinking of "taking up" English Concertina with no prior musical experience. Thanks for making the recomendations , people might find them useful. You mention in your historic contemplation the the eastern european "school" of playing developed independently of the 19th cent. English tutors. I know that you studied with Matusewitch. What were his teaching methods and how did they differ from the English tutors ? Did he relie entirely on transcriptions and selections from the violin and flute sources ? Al W. I will in "future" restrain myself from further use of smilies.
  14. Cheers all, The Tutor is great. Whatever your level, if you play English," Get This Book". As a general question to AA, I ask what method you would recomend for the non music readers to get their skills up to speed. What method would serve as a companion to Contemplation ? Ms. De Snoo's perhaps ? Others ? Do tell. AW ( what follows is an unfortunate misuse of clickable smilies what I will doubtless regret in a more lucid moment ) but......
  15. Goran, Want to read the finger plate article, where is it ? cheers, Al Watsky
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