Alex West

I spoke with Lynda Cornish yesterday. They're changing their supplier for valve leather and are sending me some samples Alex West

Good to hear this Jake. I echo Mike's thoughts and look forward to seeing the finished concertina Alex West

PM sent

At this age, it may also have nickel reeds rather than steel reeds. Nickel reeds tend to be soft (as in quiet) and little can be done to make them louder (I am told). This can affect the value as to modern tastes, they would be similar to brass reeds in performance. Alex West

I got them from a knife making supplier in the US called Jantz Supply. It was a custom order in the size I needed. I have some spare sheets; if you're interested send me a PM. Alex West

PM Sent Alex West

I'd definitely be interested in your Dropbox link, Dana. Enjoy your retirement Alex West

Ah - OK - I didn't see that Alex West

Definitely not in the right position. The reed should sit just above the shoe, like it's neighbours. Be careful, but if it was playing OK before, then the likelihood is that it's just caught there due to a hair, spec of dust or the reed being a little tight in the shoe and getting stuck during playing. In which case if you take the reed pan out, take the reed out and - very gently - push the reed with a small wooden coffee stirrer, it should snap back into place. If it takes more than a very small effort, there's something else going on. If you have a thin feeler gauge, you could run that along the sides between the reed tongue and the shoe just to make sure there's nothing stuck there. Good luck! Alex West

Matt I know some of the anglo concertina players in Edinburgh but there aren't many. I'm SW of Glasgow if that's any use sometime? And I can put you in touch with the Central Scotland Concertina Group if you're interested (mostly English system players) Alex West

I've got enough takers now so I'll get them ordered today. I'll probably have a couple of spare sheets if anyone else is interested Alex

Clive UK price would be around £35 per sheet. The quote (only valid until 30th April 2024) is $315.50 plus around $60 for postage from US plus a bit to cover UK postage at an exchange rate of 1.25. I'm not looking to make a profit on them so if they come in cheaper, I'll pass that on. I imagine that the quote would be revalidated beyond 30th April if we get interest beyond then Alex

I've been searching for German silver or nickel-silver sheet to make new ends for a concertina with wrecked ends. I've been trying to get a specification of 65% Copper, 18% Nickel, 17% Zinc - at least this proportion of Nickel under advice from a respected maker. It's not proven easy to obtain and certainly not in the size and small quantity I need - 2 sheets of around 200mm square at a thickness of 20SWG - .036" or 0.914mm. There are places in the US which have this grade in 300mm squares, but to get 2 ends, I'd have to get 2 sheets and there's be a lot of waste. I found one place which has offered to do a special order of 10 sheets at 200mm square - but I only need 2 (4 at the most). Is there anyone who would need or want the remaining 6 sheets for their project(s)? Contact me and we can discuss pricing, postage and all those things if you're interested Alex West

I use a marble wall tile. Flat enough and the leather doesn't seem to slip too much. I've not noticed the edge dulling, but then I strop the knife fairly regularly And like Jake, I use a saw blade, ground to a shallow profile. I've made a few in curved, straight cut and also in right and left hand angled versions Alex West

PM sent Alex West

Peter, Alan - I understand; my BBb tuba made in 1916 had extra lengths of tubing added at a later date in order to make it in tune at A=440Hz. But I remain confused; a typical concertina at that time would also be in high pitch - so a high pitch trombone in Bb would match a high pitch Bb concertina, whereas a high pitch B concertina would be a semitone sharp? I've checked and I don't think the concertina I have is a Bb/F in high pitch. Unless you're saying that people ordered a B/F# concertina in A=440Hz so that it would play harmoniously with a Bb trombone in A=452Hz? Alex West

Thanks Alan - That would make sense if it was Bb/F - but B/F#? Alex West

I recently acquired an anglo concertina from around 1880 and although the reeds are stamped as if it's in C & G, it seems to play in B and F#, even accounting for the probability of it being in an old pitch somewhat different from A=440Hz. It's not the first time I've had a B/F# and I've been told by very reputable sources that it was very common in the 19th century. Has anyone any idea why B/F# should be so common then? Alex West

I had a concertina with bad smells. I "soaked" the bellows in a UV light for 36 hours and fixed a small piece of charcoal filter material inside the bellows where it wouldn't interfere with playing. The owner (very sensitive to mould and odours) declared herself fully satisfied with the result and could play the instrument once more without bursting into coughing fits Alex West

Stasia It really doesn't matter which side you rest the instrument on. Whatever feels comfortable for you. Some really good players of both Anglo and English rest the bellows on their knee as they feel it gives them greater freedom of movement and accepting some wear - on the basis that bellows are relatively easy to replace albeit at a cost. Some people put a cloth over their knee to minimise the abrasion and hence wear. Personally, I don't subscribe to either of these views but that's just my preference Hand straps should be a bit looser than you think. If they're too tight, you won't be able to move your fingers freely enough to reach all the notes fluently (or at all). A Hayden or duet player may have a different view, but as an anglo player, The heel of my hand, the non-playing finger(s) and the back of my hand for a 3-point support giving stability and a strong basis for pushing, pulling and control as necessary I hope that helps Alex West

https://www.ebay.co.uk/itm/276301783355?hash=item4054dea13b%3Ag%3ATuQAAOSwy9BkwUp-&amdata=enc%3AAQAIAAAA4IKKvW%2FiFnFMi8xl7LqpYGZLwJN13izJsmxNElCToD4TQ1b9xdOR0oImZFh3cP%2BhxEzsbWNG2GOxwt%2Bp8CaVgLnKOZ8PtrSz2QLM7atOC5cFAJKun8Awc0wH87CHk2T7YSIAnAc7jLIDJinIUImIuiDfufAzv7DEROjLyD%2B2eDoLkCHo0MUPSQZr5WMWuXhxsX8L9kD7Gy2waLKBj844nIkzaCGy9jI434XC1EUlYy4Oki1C4k%2B6Gv%2BnlNodroJPqwENy8BNf22wDLHkgqGuhE2UOSy3DwD7qUxAJbS1o0OB|tkp%3ABk9SR6KPtoSoYw&LH_Auction=1 Looks suspicious to me with the Buy It Now price hidden in the description? What do others think? Alex West

Just a small correction to Wim's article. I've made a couple of wooden ended raised ends, copying another maker's methods. The ends aren't carved out of a solid piece of wood, they're made by glueing several plies of veneer together and pressing in a mould. I can't comment on the acoustic effect but I find it hard to believe it's significant. Alex West

The raising or doming of the ends has nothing to do with button height above the end when the button is pressed. Buttons can be made shorter and felt washers can be removed (or added) to adjust the depressed height to suit the player. I believe that the Jeffries and Lachenal New Model raised ends were both made based on a circular mould (but I only have a limited sample). In both cases the surface around the buttons is flat. There is a slight weight reduction in having raised ends but I doubt this is significant. They do look cool though 😎 Alex West

Many thanks Geoff - interesting details! Amazing that the bellows have survived relatively unscathed for 145 years! Alex West

Thanks Stephen For future reference - is Geoff's data here at cnet or do you have a personal copy? Alex West