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About richard

  • Birthday 02/12/1956

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  • Interests
    Painting & Drawing, Concertina, Irish Music, Working with people with dementia
  • Location
    San Francisco, California, USA

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  1. I suppose being in that heat there is great risk for drying and cracking of wood parts. Richard
  2. Hi IMHO.... Using bellows to sound a note or repeat a note is a very particular sound and would sound musical in the right context. Or it could sound stilted, in most contexts, if you ask me I think of the bellows like a pipe organ in that the air supply is always there pressurized so when you hit the key once or more that sound results. An organ wouldn't work so well and the music wouldn't be so musical if each time a sound was needed the air tank had go from zero pressure to the forceful pressure that is needed for the pipe(s) to sound. Pressurized is the key word. That tension from either pushing or pulling the bellows creates the pressure that is released through the reed when the pushed button lifts the pad. And I think it works very well when that pressure is there, waiting to be released when the pad lifts. I would guess we can judge any particular technique by how the results sound. Some do sound better, some worserer. Richard
  3. Hi It's interesting to hear of different manners or approaches of holding and managing your instruments. I'd like to hear the benefits and advantages you get from your particular way of playing and/or choices, how it helps or solves some issue that was an obstacle. Richard
  4. Hello Sorry to blow my own horn but the fab Riggy Rankin concertina player and singer has included and interviewed me for his website's blog "Jews in Irish Music". I am amongst some really great and professional musicians, so a bit out of place,but I like it. If you please have a look. https://riggy.com/jews-in-irish-music-richard-goldberg/ Thanks, Richard
  5. I quickly delete the worst of those. I have a friend who is a professional real French accordionist and she has the affable smile down when she plays in public. It's quite impressive.
  6. Hi My pondering: If the topic is really "running out of air" an interesting question to consider is how many push notes is one using vs. how many pull notes. The direction used should always benefit the music, phrasing, rhythm, pulse, feel. I think somewhere in between all that there is room to include a consideration of the balance of push to pull notes. Richard
  7. Aside from inherent, practical, or sentimental value, on an everyday monetary level things are worth what someone is willing to pay for that thing.
  8. Hi How can someone take advantage of this great opportunity?
  9. Hi I'm sorry for not being clear enough. If I purchase a concertina in England and return to the US with it would I be expected to pay duties? I do recall having to declare purchases on a form a few times when crossing borders. I suppose the correct thing is to say yes I have purchased this here concertina? Not, this here concertina is the one I came with....? Richard
  10. Hello If someone was to visit England from the United States for example having brought the concertina along on the trip for obvious reasons...... what situation, questions, inquiries and accusations would that young person face before boarding the plane in London and/or landing on US soil? Thanks, Richard
  11. Hi John I indeed did mean and understand that it is subjective. This is what I was asking to hear.....other's subjective experience as an individual playing 2 or more different instruments and comparing the experience,involving concertinas of different keys or the same, for I suppose you could call it "playability". And yes it could also include instruments with accordion reeds. And I was thinking in the context that yes the instrument I play best is considered a quality instrument, but, and yes the instrument I can play but not quite as well is of quality as well....So what is my problem? Do you get the same quality of music, or playing out of each one. My experience is that no I don't. I have more success with one rather than another. But I keep trying! I'd also like to add that my question was in no way intended to stir up and invite to hear anyone's subjective preferences of one concertina maker over another and why, especially regarding current makers and their fine products. I'm glad the conversation has not steered in that inappropriate direction! Richard
  12. Hi In reading the responses I have these thoughts. I know the designation "high level instruments" is a bit fraught with inferred snobbery or smugness. I did intend to mean instruments made with concertina reeds by a group of accepted makers past and present. But for the purposes of my burning questions I did not intend to include too much of the subjective perspective as in "the instrument one may happen to love". I don't think one could define the "better" instrument necessarily by just it's smoothness or ease of getting noises out of the reeds with the bellows (or precision, smoothness, and high quality of the action components). It can't only be limited to that that because I know there are instruments that don't have those strengths that have a tone that compensates for falling short on other qualities and you can hear that when a great player especially is playing a "challenging" instrument. But I suppose the quality of smoothness of playing with just enough resistance, but not too much, and an efficient action mechanism, is what I am really referring to. May I say the skill and strength of the player determines the whether any instrument can make great music? And maybe strength is a component in great playing that should not be undervalued. Richard
  13. Hi I would like to hear from other about their similar experiences playing on different "high level" instruments. Are some instruments "easier" to play than others? I am fortunate that I have some wonderful instruments in my modest collection that give me great pleasure and each has it's own particular qualities, and tone, not withstanding being in different keys. For me my Dipper C/G is the instrument that I can play/perform best on. Though speed isn't my goal or forte I can play faster with more agility, articulateness, control and endurance, etc. I also have a swell Jeffries Bb/F which has a magical tone and is a real keeper. I can play this pretty well but with not quite as much facility or endurance as my C/G Dipper. The Jeffries definitely has a bit more "resistance" in pulling the sound from the reeds. I wonder would or should it be so different from the C/G Dipper? Maybe it is difference between a Dipper and a Jeffries? I would say both are in tip top technical shape, fine fettle, and not "dogs". The Jeffries Bb/F reeds definitely give more "resist than the C/G reeds. I know that is not remarkable for lower pitched reeds but should it be so noticeable for sets of reeds that are not too far apart in tuning? Could I have two different Jeffries of the same tuning, for example and have them noticeably different in ease of play? I do just accept them as two different experiences both with great qualities. I see my mastering, or aiming to get the same quality of music out of the more "difficult" instrument as the pathway to better playing in general. At one level playing the Jeffries and then switching to the Dipper is like running with weights then enjoying the increased strength and facility when I take them off. Perhaps this is all about "resistance"?? I also play an Ab/Eb which is so much lower pitch from the C/G that I have no surprise or sense of failure at my struggle to get Music out of that. Someone told me a long time ago before I took the plunge to a higher level of instrument "just get a good concertina and learn how to play IT". So is it just me that plays at a higher level (whatever that may be) on one instrument more than another? Thanks, Richard
  14. Hello I am very impressed with the sound and seeming playability of Edward Jay's little wonders. They are awsome and I want one! I wonder what the life span would be for this type of material used in a 3d printer. Richard
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