mike averill

Try this version if your bellows are strong

I voted other and other as the options are too restrictive to describe any style. The range and layout of a typical anglo is such that you have to play tunes on both sides or seriously cramp you repetoire. The same goes with accompaniment be it chords or octaves. In terms of styles of music all the above, except pop. I also play some classic and jazz.

I looked this up on the govement websites a week or so back when the rumour was emailed to me. The VCR bill recevied royal accent in 2006 , it is allready law so no point in lobbying. It modified a 1988 act. Between them it specifically allows swords for theatrical performances. Rapper and Longsword dance are theatrical so I see no problem. Add to that the lack of an edge (which I think even PC Plod would require to define and differentiate a sword from a steel ruler) and I dont think we need worry. A search of the prospective legislation bits had no mention of a new bill.

Question/comment for me, I assume? If given the possibility, I would have chosen "crimped" or bevelled ends (the edges you are "missing"?), but at that point in time I didn't know how that was done, so I opted for the "inset into the wood"-ends = a flat plate. I know now how the crimp is done - last year, Geoff Crabb posted a couple of Aha!-photos of the necessary tool here . And with that knowledge I would still have opted for the flat ends . Nothing fancy about the tool, except you need to have it... The "Jeffries"-part only applies when we are close to the edges - it stops as soon as we approach the buttons /Henrik Was refering to Bobs ends; the circular out edge trims the traditional pattern.

Polishing is ok if you have enough metal left and do it very infrequently. The back corners of mine are down to a razor sharp edge where the hand/wrist rests so I consider polish off limits. Soapy water or IPA shifts the green gung fairly well. Im still considering gold plating but finding the right person to do it is the big issue. I have more time to research it now as my nickel allergy tests were negative.

The Gixen server from where your bid was sent is US based. Seems reasonable to block it for a UK only auction. Uk account bids from a US server also ought to ring their hijacked account alarm bells if they have any.

I had a chat with John Connor last year, he reconned that he spent about 8 hours on a pair of hand fretted stainless ends. That nickel looks nice - jeffries style - but trimmed at the edges?

WHen I first this read this I couldnt really put my mind as to wether I play the standard 30 or the extra 8 for irish tunes but I gave it some thought this afternoon and looked in a book to see what the standard 30 key has. The left hand four extras : Bb/low Bb essential for tunes like ALices reel - I know 30 keys have the low Bb suck else where but the position is more comfy and the low Bb on the end of the mid row leaves space for the pull C# on the third row also used a lot. The push Bb is also good for rolls around g# F#/G# end of inner row - brilliant for ornaments on G and A - essential Eb/E inside of the inner row - I went years with out play this button recently found it can be very useful for ornements against E and C minor arpegios in hornpipes - Screw the nut comes to mind F/ C thumb - I dont think I use this for irish - although I do for other dialects The right hand: d/c top of the inner row - not used alot as both in the same direction on the left ( right handers might like this button) but useful to ease finger tangle on occaision; the heavy jig " the kings fancy" in Bb comes to mind. f#/highEb top mid row - the f# is good for ornaments on G - not much call for the high Eb. f/e bottom end mid row - useful on occasion but not used too much for irish ( again righthanders might like this e but for me the left hand one always wins)- more a fixer when play chorded left hand high f#/ high f inside of the inner row - has to be the least used of the extras but having it frees the bottom of the inner row (where it is on the 30 key) for a high bb/g# - the suck g# is the best for playing anything in A. Overall I think 38 lets you ornament properly rather than having to play some of the quirk combinations often heard. I guess its a case of less need for the phantom button becuase you have the real button. More choice when playing away from the home keys is also useful - a 38 key C/G is good for the flat keys so no need to carry a second Bb/F.

Better to work on improving you anglo playing capability to a few more keys, rather than split your self between two instruments. On a duet you still have to learn a different scale pattern for each key.

I am considering the gold plate option, as well as a new set of laser cut stainless ends. The big worry about plating is making sure each button gets back in the right position as the ends are all contoured from many years of playing. If they can guarentee to keep them ordered or identifiable then I'd consider the full plating option. The allergy test is booked, but the consulant thought that nickel was high on the list, and also chrome from the tanned leather straps. The locality of the problems point strongly in that direction. The rate of metal removal from the back corner of the end plates also sugests a strong reaction with my hands; the back edges are as thin as razors now.

Poll Ha'penny - because it has those nice varying modalitys that really sum up irish hornpipes and can also be played as an air St Patricks Day - becuase thats what its about, and hopefully I shall be accompanying some dancers Paddy Ryans Dream - because the audience will be hyped on guiness and expect a stonking good reel - although I might substitute the Glasgow real, the Tartar Frigate, or popcorn behaviour if Im feeling rebelious - because the audience wont realise they arent irish and theyre great tunes.

Just thinking of options (suspected nickel allergy), Did Jeffries make many or any 38key anglos with wooden ends? How do they compare to the more common metal ended ones?

Hobgoblin , Crawley have on in 2nd hand http://www.hobgoblin.com/local/shlist.htm#melodeons Always prefered the balanced tuning of the Corona III to the II. Makes a great Ceilidh band box.

I had similar problems last year, some emails worked and some didnt, I confirmed a booking then no details dispite numerous emails. They really need to sort it out.

My only critisism of the R-09 is that the internal reverbs that can be used on playback cant be applied to the files that you download, making the use of other software essential if like me you have a rather dead room to record in.

I have a 70 key (plus air) with engraved ends, number 8937, which Geoff tells me was made in 1918. I posted the pictures before http://www.concertina.net/forums/index.php...ost&id=2665 http://www.concertina.net/forums/index.php...ost&id=2666

I have an Edirol R-09 and love it, does exactly what it says on the tin; records the best. If you want to slowdown/speed up or pitch change download Audicity.

I think the tone difference between a good accordian reeded concertina and a traditional reeded concertina is no more than the difference in tone between difference makes and styles of the traditional. The cheaper trad reeds (e.g. the basic 20 key lachnels) sound tonally equally bad to the cheap machine made accordian reeded concertinas.

Just got my 70key Crabb crane back from the repairers so I shall be able to start learning the finer points or even the basic ones.

Well the weight of my concetina is taken by the rest, my upper thighs, and the bellows are untouched as I only every rest the ends on my thighs. For playing sat down this is a good height. Not really sure why the velcro and clamps are needed. The hands are strong enought to squeeze or they arent. Clamps and velcro wont help that. Standing up I tend to play stood on one leg with the other raised as a support. Puzzled by what you mean as left or right handed players, as a two handed instrument it makes little difference. Im happy resting on either leg or both. Not sure handedness comes in to it, more a case of rest on one side till it becomes sore then swap to the other. Stands and the like have been tried in the accordian world and rejected by the majority. As long as the 'tina is light enough to not cause circulation problems in the legs, as is the case with big sqeezes, no problem.

C/G Jeffries 38 button ( my work horse) C/G Lachenal really basic model 22 button (emergency backup) G/D Connor Jeffries copy 38 button D/A Galotta 20 button ( My first, 22 years old) Crane/Triumph Duet - Crabb 70 Key with engraved ends, hopefully learn to play it properly soon

Loosing the low G on the suck would be a disaster. The low G is used for lots of classics, e.g. Father Toms Wager, Tom Friels. A possible solution to get the bottom A on the inside row might be to play with looser straps. I find a lot a standard straps too short making it impossible to get comfortaly overall the buttons. If you dont have enough adjustment find an old leather belt and cut some out.

If by seller in kilburn you mean the accordian shop dont bother. My experience with them was that they regard all melodians and concertinas as toys. There is a branch of Hobgoblin Music in central london, and another down at crawley where you will get much better advice and selection.

Does any one know if Jeffries, Crabb, or Wheatstone had acid free museum board????? Has acid card ever been a cause of failure? I think the leather is normally the weak link, generally due to external wear, although some cracking does occur. Suspect we'd be better of concerntrating on the tanning processes, which invariably involve compounds far from neutral. I still play what I beleive to be Mr Jeffries original bellows, 100 years plus old, with some light TLC from AC Norman on a couple of cracked corners, but no sign of damage to the card. The metal ends are worn aware to be razor sharp and the wood is rounded, at the back edge, so well played, but the card of the bellows is solid as new.

If you look round the model engineering community and magazines I think you will find places that will laser cut ones offs given the digitised drawings.