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Posts posted by inventor

  1. Raised ebonised ends. LHS 32 buttons F to c". RHS 39 buttons b flat to c"" . Plus air button.

    235 mm  9.75"  across flats.  Good tight Bellows, Weight 2 kg, weight with case 3.5 kg. Needs a little restoration.

    Modern case by Barry Wallace. Asking price £2500 plus carriage.  






  2. Raised metal ended.

    LHS 33 button F to c#".  RHS 39 button c' (middle c) to d"" plus air button. Top of one button is missing.

    254 mm 10" across flats.  Bellows fairly tight. Concertina needs a bit of refurbishment.

    Weight 3 kg - weight with case 4.5 kg.


    Original Lachenal case. Top is loose, and top part of lock missing. 








  3. Wheatstone Aeola  84 key Maccann Duet. 32066. Raised metal ends. For refurbishment. 


    LHS  40 Buttons AbAb in the edge of the fretwork BbBb and BB where you would expect them to be on a  Maccann; then Bass C (same note as the lowest  string on a cello) up to c#".  (Sorry to use the old fashioned notation, but I have never got used to the modern electronic organ way and always get the numbers wrong. Middle c is noted c' )  The inside photo shows where the extra 3 very low notes are placed on boxes in the middle of the reed pan.


    RHS 43 Buttons, plus air button g to c#"" .

    270 mm - 10.75 " across the flats.   Weight 3 kg.  Weight with case 5.5 kg. 

    Modern case  by Barry Wallace 300 mm x 288 mm x 290 mm.


    God tight Bellows.  


    Asking price for this unique instrument -  £3000.










    • Like 1
  4. In answer to Richard Mellish I only mean I will not be parting with any of my personal concertina reeded Hayden Duets. The more Hayden Duets that are made; the happier I am.


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  5. In answer to several questions there will not be any concertina reeded Hayden duets until after I snuff it;  but at 86 you may not have to wait too long 😜.

    I have smaller Macans and some Cranes.  Also a very large Jeffries duet which I mightpart with.


  6. In answer to several questions there will not be any concertina reeded Hayden duets until after I snuff it;  but at 86 you may not have to wait too long 😜.

    I have smaller Macans and some Cranes.  Also a very large Jeffries duet which I mightpart with.


  7. I have decided to start selling off most of my collection of concertinas. First of all 4 large Macann Duets.

    1) Wheatstone 81 button Aeola.

    2) Wheatstone 84 button Aeola.  The extra buttons are very low notes, Ab, Bb. and B, below the bass C of the standard 81 button Macann.

    3} Wheatstone 72 button Aeola.

    4) Lachenal 72 Button Ediophone.

    More details to follow.


  8. Hello Mary,

    As you know Pat was a keen member of the ICA (International Concertina Association) . His letters and papers should go to their Archive. In the meantime I would be very happy to look after them, if this can't be arranged by the end of  this month; whatever you do please don't destroy them.

    I met Pat frequently at ICA meetings and Accordion Weekends, and once visited him at his home in Cookham. I drove up from Somerset  one spring Saturday  morning.  On arrival I was immediately spirited away in to his workshop, where we discussed making duet type of concertinas in the square bandoneon format, using my duet system.

    That lunch time I enjoyed a most excellent roast dinner and met your mother and possibly yourself. As soon as lunch was over we immediately returned to his workshop for further discussion.

    I too still miss him; we always so much to discuss when we met.


    Brian (Inventor)       

  9. continued-


    Standard Accordions have 16 mm wide treble reed-plates. The compass of a full size is 41 notes from "f" to an "a" 3.5 octaves higher.

    Most accordions have Two reeds of the same pitch (m reeds) sounding at the same time., but many have a third reed (l reed ) set an octave lower. this set runs from F to a"" , and are the same width (16 mm). 

    All these reeds are manufactured in great quantities by machine.

    Treble accordion reeds are made which go down to the Eb but only for large expensive chromatic button accordions which always have the much more costly hand made reeds anyway.


    To keep the chromaticists happy, and to keep the cost at a reasonable level, I opted for standard machine made reeds placing this reed where the Eb would normally have been.




  10. There are two reasons why the bottom left button is an F# rather than a low Eb :-

    1) When I first introduced the 46 button instrument some players mainly from a classical background were unable to understand why the instrument didn't have a complete chromatic run of notes on both sides.

    2) The square instruments were made using basic standard Piano-Accordion reeds, using standard Bastari Bandoneon reed-blocks.

    Any variation from this could have knocked the price up quite a bit. 


    Sorry to break for now, but I hope to continue shortly.


  11. In my earlier life I knew two ladies whose favored instrument; that they played their entire repertoire on; was the Piccolo English Concertina !  Both were Folk Music players.

    The first was Helen Kennedy; the wife of Douglas Kennedy the first Director of the EFDSS after Cecil Sharp, and her sister was Maud Karpelees, who was Sharps' secretary. She played a Wheatstone Aeola Piccolo EC in the "Jolly Wagoners" who made many post WW2 BBC broadcasts; and Gramophone Records for use of local EFDSS groups. I met her on several occasions at EFDSS week and weekend courses.

    She told me that she favored the piccolo EC rather than the treble as it stood out over the fiddles and accordions of the rest of the band.

    The second was Gladys Thorpe; who I first met 70 years ago when I was only 13. We both lived in Rochester. Neither of us played any instruments then, but a few years afterwards she took up the English Concertina in a big way.

    She had a Wheatstone Aeola Piccolo EC, a Lachenal Ediophone Piccolo  EC, and a Dickinson made Wheatstone Short Piccolo EC.

    She was for many years a keen teacher of the English Concertina and liked the Piccolo as she could easily hear if any of her pupils made a mistake.

    She also formed several Folk Bands, leading on one of her Piccolo ECs.



  12. Hi Tim.


    On eBay there is a man called Sandylaneman of Ardfert Kerry who sells replacement parts for concertinas, including bellows replacement kits and bellows papers. I don't know anything about him, and have never used his services; but I believe other members of "concertina.net" may have, and could tell you more.

    Now this may be false memory syndrome, but I am sure that he, at one time also offered to fit these to your bellows frames complete with gold tooling and bellows papers attached. So far as I remember, one of his illustrations showed a Jeffries style gold tooling look-a-like. If I am correct he must have the dies and ability to do this, so might, (I emphasize might), be able and willing to do this on your existing bellows.






    • Like 1
  13. This is what Steve Dickinson told me about Wheatstone Long Scale Reeds.

    The Wheatstone Factory had press tools for making Reed-Frames (Shoes). There are four different sizes of Reed-Frame for each octave. Each size was used for 3 consecutive semitones. Long Scale Reeds used the next larger size of Reed Frame for a particular pitch than the Standard Size Reed-Frame for that pitch.



    • Thanks 1
  14. Several years ago Colin Dipper made a couple of Bass English Concertinas for the "West Country Concertina Players"; using the best quality "Binci" Italian accordion reeds. I can't remember if these were single or double action instruments; but I expect that one of the several "WCCP" English Concertina playing members, who regularly use this website, might be able to give you more information.



  15. I am so sorry to hear that news of John Holman; he would have been the perfect person to have made the film.

    Perhaps - John Dipper, you might consider filming the archive of the Dipper Workshops ? You will never come to the end of the list of concertinas on your order book. However consider this: If you were offered a concertina or fiddle teaching  weekend (or a week at Sidmouth say) would you take it?  (There probably won't be any of those this year!) I think you probably would, even if it lost you quite a number of concertina making workshop hours.


    My offer of being part of a "crowd fund" to finance the film still stands.






  16. If John Holman is still around; you should get him to come to your workshop and make a proper in depth archive video for prosperity; while all four of you are still working together.

    (For those more recent to the Concertina World: John Holman was an extremely good concertina bellows maker, who worked at the Dipper workshop in the early days. He left to become a Wedding Video maker; which regretfully he found more profitable than bellows making. He was a great loss to the concertina making world.)

    I am willing to stick my neck out and say I would be very happy to be part of a "Crowd Fund" to finance such a project.

    I am not saying don't go ahead with the ITV4 project, but I do think that this is time to have a proper film made by the person who really knows the insides and outsides of concertinas.





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  17. I have seen the insides of many melodeons and accordions over the years, and have noticed that the reed plates for the very highest notes, have three factors that differ from the lower reed plates. 

    1) They are valveless; like yours.

    2) The reed plates are are reversed, so that the tongue tip is closer to the opening.

    3) The tone chamber has a wedge shaped insert in it to reduce it's volume.


    On the prototype Russian Hayden System Concertina, where all the reeds of each side were on a single plate; one pair of reeds on the left hand side was accidentally put on the wrong way round so that the tips of the reeds were next to the opening. This note absolutely barked out considerably louder than than the other notes ! 



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  18. I fully endorse the recommendation of Rosalie Dipper's Bellows. Any size, any shape - Hexagonal, extended Hexagonal, Octagonal, Decagonal, or Duo-decagonal.  She specializes in bellows making, and is the most experienced concertina bellows maker in the world.


    I am lucky to live only about a 20 minute drive from the Dipper workshops. On one occasion when I had to have a small repair to my concertina; I went there for it to be done. We went to the top floor in the mansard loft of a good sized Georgian house where Colin examined my concertina and disappeared with it to another workshop.


    I sat and watched Rosalie skiving bellows cardboard. She worked amazingly quickly and accurately. We chatted, and I asked her many questions about bellows making; she also held an intermittent conversation with Robin Scard who was working at the far end of the loft workshop, without  pausing for a moment in her work.  From time to time she resharpened a well used knife, with a few strokes on a sharpening stone, and continued her skiving.  I asked her how often she needed to do this; and she said "whenever I feel I need to". 


    At one point she called out to Robin to ask the time, and said she was just popping down stairs to put the vegetables on for lunch -"you're staying for lunch of course" ! She returned and finished the set of bellows cardboards then put them all in a little press and accurately cut off the sharp corners.


    We then all went down to a huge kitchen with range cooker, and sat at a large table being joined by two children. While Rosalie was serving up, Colin appeared with my concertina now in fine fettle.


    You won't get a better concertina bellows anywhere in the world than one made by Rosalie Dipper !


    Brian Hayden. 


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