Alex West

At the time we visited him, Chris Algar had around 25 Jeffries on his shelf. We didn't try all of them. There are people in this world with multiple Jeffries - if you know where to find them, and can get a couple of friends together for some music, it's possible to get quite a few together in one place Alex West

I had a road trip in October which took me, with another contributor here , from Chris Algar to Jake Middleton-Metcalfe via the Dippers and Mr Wheatstone (Steve Dickinson), also visiting yet another contributor with a collection of high quality Jeffries. Overall, we had the opportunity to try over 20 Jeffries (Some original and some restored & retuned by Dipper or Wheatstone), 3 Dippers, 3 Wheatstone concertinas (1 vintage, 1 new), 2 or 3 Wolvertons and a selection of Lachenals. No Suttners, Carrolls, Holdens or Kensingtons on this trip unfortunately. As has been said, all were terrific (the Lachenals being at a lower playability and price level), all were different to play and of a high quality. Impossible to say "That one was the best" which all could agree on, although each person might have a different opinion. Yes, of course there is variability between individual instruments from the same atelier and some might suit one person better than another (either because of keys, pitch, size, weight, undefinable sound quality). The road trip may be reported elsewhere (when I get round to it), but my point is that the best vintage or modern instruments are all good and which one is right for you depends on a lot of factors including budget. The only answer is to try as many as you can - but stop short of thinking that the "best" one is still out there just waiting for you to find it! Alex West

In my experience, import duty from the UK to the US is not an issue with most Jeffries instruments as they are all (well, mostly) over 100 years old and qualify for a zero customs duty as an antique. Similarly, import duty for instruments under 100 years old is not such a big concern if you use the correct product code Alex West

I bought some half-hard brass wire of the appropriate thickness in a small quantity from a harpsichord parts supplier and it's served me well. In retrospect, and in discussion with others, perhaps I should have ordered fully hard spring wire from the same source (which I think was an option) but the half-hard makes good springs with an appropriate stiffness/resistance (must be a better term than this!) Alex West

I think the maximum of 32.34% includes online commission and VAT and only applies to online bids. I would assume that the VAT is applicable to Gardiner Houlgate's business, not the current owner. Absentee bids and telephone bids are also permitted so the buyer's premium in those cases would be 22% + VAT = 26.4%. Still a chunk of change but fairly standard for auction houses and maybe worth checking to confirm if one was intending to bid. Alex West

Goodness! Well done Andy - now if only I'd kept a picture of the instrument (or knew who'd won it) I'd be much better informed! Alex West

cncrtna, Yes, I'm afraid that one has gone Alex West

I stand corrected Stephen - my error. But if it was originally tuned to A=439, then my conclusion remains - there's no pressing need to retune just to move up to A=440Hz? Alex West

Back to the original post - Everett, if you're happily playing along with other players in a 1927 original pitched instrument, then they're either all string players who can tune up to you or they're tone deaf. There's no way that you can play comfortably on an A=452Hz instrument with others in A=440Hz. If the others are happy to retune to you, then keep going - you don't have to change a thing. If you do decide to retune to A=440Hz, then the reeds won't necessarily be compromised. Sure, some metal will be removed (mostly at the root) but there are adjustments that can be made to the response to keep the reeds sounding well. Get the work done by someone who knows what they're doing and you'll be fine. The decision to go for an equal temperament or one of the unequal temperaments is a different decision and may depend on what the box is already in as well as what you prefer Alex West

I had this issue on a concertina which originally had metal handrests so I replaced them with shaped wooden handrests which lifted the joints (which Chris Ghent so anatomically described!) and made it much easier. On another note, there are concertina players in Brisbane who might be able to let you try their instruments. I sold one there a year or so ago - a fairly basic Lachenal - but I know of at least one person there who has a stable of more exotic instruments. I'll ask and see if they're prepared to let you have a try - if lockdown permits... Alex West

Alex No, the reed pans were clear and free of holes when I got the concertina. I tried the trick with screws but the bellows were still fouling the reeds at the intermediate position so rather than "nail gun" the pans with screws I decided to use the wooden wedges as a neater solution Alex West

I had this issue in a bad way on one concertina I refurbished. Here's my solution - thin wedges of wood alongside the valves with the tallest part of the wedges where it would touch the inside of the bellows Alex West

I'm guessing this is the one that sold last night (21st July) and went to £945. Given the condition it looked to be in - bellows sound and woodwork intact - I'd say this was just about right. I certainly wouldn't have gone any higher and I've been told I don't need another concertina Nice looking instrument Alex West

Larten There's lots of reasons why a reed can stall or refuse to sound. Too close to one side of the frame; too little gap between reed tip and frame; too much gap between reed tip and frame; too tight in the reed pan slot... Whereabouts in Scotland are you? I'm in Ayrshire if that might help you find the solution Alex West

...and mine's a similar press. with the thin veneers, the dampness of the epoxy and the relatively small amount of curvature being created, the plywood bends easily and takes the form with no trouble. Alex West

How do you make the blanks for new raised ends? I've done this by making a male and female mould to the dimensions of the area of the raised portion - circular for one instrument and a sort of ellipsoid for another - then making a laminated board from multiple layers of veneer using a Cascamite epoxy as recommended by Steve Dickinson (other glues/epoxies are available!). Here' a picture of the moulds with the right hand end as (more or less) finished Alex West

Reuben Yes, the Koot Brits 40 key G/D is still available Alex West

Sorry Peter, All of mine are 26 key or above. Some may be suitable as a beginner instrument but all are more expensive than a 20 key would be. I'll send you a PM with some suggestions when I'm back home in a few days Alex West

I got this case from a yacht chandler a good few years ago. I've a feeling they were made in Italy but with a Netherlands distributor. I had to add the padding but they were around £70 if I remember rightly. Plywood frame, leather clad, very robust

Arktrav This attached PowerPoint file won't be identical to your layout I'm sure but might give you a clue and a starting point. The stave represents the treble clef and the note values from G2 upwards) are as you get from a Peterso tuner Good Luck! Alex West 32 Key GD Jeffries.pptx

Arktrav On a 30 key instrument, the C row is the same on "most" CG instruments. There are likely to be some variations on larger instruments for the buttons outside the core 30 key pattern. The G row on a CG is not the same as the G row on a GD. The lowest notes and highest notes (little finger) are almost certainly different values and the whole row is an octave lower on a GD than on the CG Wheatstones tended to be a lot more "standard" than Jeffries, but variations are possible, particularly on the accidental row or at the upper end of the range either as customs from original or as modified by players over the years to suit preferences F# over E is the standard for a Wheatstone GD in that position, but F# over A is common on a Jeffries and preferred by some players who may have swapped the A in there or had Wheatstone put it there originally No such thing as a daft question! Alex West

PM sent

Indeed Richard - my mistake. The G makes perfect sense Alex West

OK - All of the other keys I checked have the equivalent of A5 there - apart from the Bb/Fs which all have a G there when I would have expected a Gsharp. Apart from one Bb/F instrument which had a C in that position Alex West

And I've just checked my records on Jeffries CG instruments - yep, they all have A5 there. I'll take a look at the other Jeffries in other keys for which I have maps and see if it's the same equivalent Alex West