richard

I was thinking of a Rochelle for traveling, to enjoy and keep in practice without worrying too much about security issues or other mishaps. Would it be good for that? Richard

Hello I am curious to hear what a Concertina Connection Rochelle Anglo sounds like. Does anyone know where there is a sound file I could hear (there doesn't seem to be one on the CC website), or could someone make one and post it? Thanks, Richard

Hi I looking for a miniature Anglo concertina. I would be interested a working instrument of medium to very good quality. richardgldbrg@aol.com Thanks, Richard

Hi I wouldn't say the original Lachenal hooked action wasn't working properly. It worked well, at least on my concertina. But putting in a riveted action is definately an improvement. It might me more dramatic for some conertinas or more subtle on others. There might be some Lachenals where it won't make much difference, depending on the overall quality of the instrument, but I thought it was worth the investment for mine. There must be past forums that you can find where the" hooked vs. the riveted action" was discussed. You can see good photos of before and after on the Concertina Connection website, under "restoration" I think. Richard

Hello I'm happy to chime in too. I just got my Lachenal Ab/Eb Anglo back yesterday from Wim with new riveted action and revoiced reeds, button pressure and height also were addressed and greatly improved. I am very pleased! I had recently acquired the concertina from a member of C net. and was very pleased with it. It had a wonderful tone and sound, and played pretty well, especially for a low pitched instrument. Compared to other Lachenals I had played it stood out, and for me didn't lag too far behind Wheatstones or Jeffries I have played. But I wanted to see if I could get the instrument up a few notches and reach it's potential. The improvements are not as dramatic as with Charle's Lachenal and I didn't expect that, or need that. But it plays just that much more precisely and quickly. When I compare it to a recording I made before the new action I can hear the improvements. Triplets are much more articulate, discernable and bounce. It is just that much more fine to play! Bravo Concertina Connection. Richard

I think listening to many other players is the way to learn. To hear where the ornaments could go! Over time I hope I can internalize where ornaments go, what I like, and when not to use them. For me not trying to reinvent the wheel by learning from others seems to make the most sense. Richard

Hello I somehow think we have it good....Yes it costs a lot of money to get a great concertina. It is the most I have ever spent for anything beyond a home. It is the only thing I would like to possess to play and make my brief existence a bit sweeter, that costs as much. I have never purchased a car for half of what I have paid for a concertina. I am glad I could manage it and still keep my home and food on the table and still have some money to keep my wife in frillies and toilet water. As my appreciation of concertinas evolved and became deeper the price I was happy to pay for one grew also. My main point may not be comforting to someone who cannot afford a good concertina.....But so many exceptional quality guitars, fiddles and other instruments only start at the price of the best Jeffries, Wheatstone, Dipper, Suttner..etc that I feel thankful that for that price I can hold and play and enjoy the best there is, and afford it gladly.

Hi Dan I will just suggest that at your stage you, your playing and your budget would benefit from an upgrade to a Morse Ceili, or a similar quality accordion reeded 30 button concertina. With a better instrument you might enjoy practicing more and improve at a more satisfying rate. A good hybrid is much easier to sell when you are ready, and you could get much more of your investment back. The main reason is that it is easy (like I did) to spend much more money over time hopping to mediocre instruments, than to just get a good one that will help you improve and enjoy playing, and last you a long time as you improve. Richard

Hello Here is a link to a video of Mr. Edgley that is a treat.... http://comhaltas.ie/music/detail/comhaltas...ncertina_maker/

Hi Michael Try contacting Linda Mann at: tmmann@snet.net Richard

Hi I would reccommend "Amazing Slowdowner" soft ware. It does everything I need. Any sound file that is in my computer either via my minidisc recorder, CD, or recorded or downloaded off the internet I can drag into "Amazing Slowdowner" and I can manipulate. By the way..I use audacity to record onto my harddrive, material that is streamed from the www. Richard

Hello I wonder if with an older (bellows) instrument the bellows creep is less of an issue? In the course of a day I will leave a concertina out of its box or in the case but not "wedged in" with the little padded balls, which I use as substitutes for blocks. Lately I can play my concertina at work a few times in the course of the day so I like to keep it ready to go and I keep it in an old soft case for easy access. At night the concertinas are always wedged in their cases. I hope this is alright. It always seems Noel Hill transports his intruments to the U.S. at least, wrapped in towels and stuffed into old suitcases, seemingly without ways to really compress the bellows. AND....Is there a way to determine if your bellows have "creeped"? Richard

Hello I'm becoming persuaded through the last few years of trying to learn to make music, that the real challenge and magic is trying to turn the noise into music. The words musical and musicality have taken on deeper meaning. To make "The Music" is to speak in the language and have a fluency that enables you to speak and communicate while being aware of all the subtleties and nuances, and to play with them, keeping yourself amused. Hopefully some of that fluency can be learned over time. But it makes me appreciate that to make MUSIC with any instrument is equally "hard".

Hello Here it is from the Horses mouth........ "The way I execute a D roll is as follows: Play the D and keep your finger down as you tap the opposite side (above the keyboard) with one (or two) finger(s) on your right hand. That tap will produce the second D. That same tap will cause the finger you’re holding down on the left hand side to bounce twice if you do it just right. It works sort of like those kinetic sculptures from the 70s that had steel balls hanging next to each other in a frame and you would swing the end one into the row of balls and only the ball on the opposite end seemed effected because of the transfer of energy. If you can do this just right it produces the 'D D/D/D' triplet you're hearing in the D roll on that tune. The tightness and clarity of this triplet is astonishing and you can execute it at just about any tempo. The problem being that it takes a long time to get it to work… i.e. loads of practice. But this is how some of these hot players you hear on recordings are getting it. I have a name for this technique by the way... I call it the phantom button. That tap on the right-hand side plays a note as if there were a button there; hence, it's a phantom button."

Hello As far as I know Mr. Dipper is still making the Clare model Anglo.I just recently spoke to him about that subject. What aspect of the concertina that you are selling is no longer available? Thanks, Richard

Hello Thank you...This instrument is sold. R

Hello The Comhaltas website has made available lots of tunes from their sessions. There is also lots of great video. http://comhaltas.ie/blog/post/foinn_seisiun_online/ Richard

Hello I am lowering my asking price for this wonderful mid range concertina. The price is $1800.00. This includes the Fallon case. I hope this will inspire someone to grab this great instrument. ADIEU, Richard

Hi Richard I was one who suddenly felt more important when I saw all the email I received. I was not offended when I saw the source and knew it must be some technical error. I don't need a personal email or apology and I would think I am not alone. Richard

Hi Paul Thanks for sharing about your Lachenal. I'm guessing mine was made circa 1930-1935. From looking at the pricelist could I say mine (30 button) is what they call "NEW MODEL ANGLO"? Mine also has the parallel reed pan.Here is a picture of the Lachenal next to my Jeffries. The Lachenal is on the right.

Hello I just recieved my metal ended Lachenal Ab/Eb. It is serial #199103. As it was advertised it has a very lovely tone and plays very well. The seller said it is the best playing Lachenal he has ever played. I also agree but my experience is limited. But it is a joy to play. I am curious and wondering if it is a certain model that can be identified. It has really lovely finely cut metal ends unlike any I have seen on a Lachenal. They are very lacey and leave a lot of space for the sound to come out. Could it have been a special order? Has any one seen a Lachenal with ends like this? Here is a picture of the Left side. Any information would be appreciated. Thanks, Richard

I don't know if it is the climate, or a real cultural difference, but American wives always love and are ever-ready to cheer on the new concertina. If mine could do a back flip she would, I suspect. Richard

Hi I recommend Noel Hill's cross row fingering system from Noel at one of his workshops. There is a lot of logic and sense to it most of the time. Learning that system doesn't stop you from playing along the rows or any other way, if you choose. I agree with Frank, that for the sake of sanity and simplicity one needs to learn one base system of playing in each key otherwise you are reinventing the wheel each time and every time you learn, and play a tune. Richard

Hi Jesse I'm not sure which kind of concertina, or which source you are referring to but your plan could be a bit misguided if you really want to find the best beginner's instrument for a reasonable price. You would also want a source of that instrument to have a reputation and a quarantee. There is a lot of information on this website about starter instruments and where to find them. Richard

Dana When you say "gap" are you referring to the space between the reed and the shoe on all 3 sides (the tip, and the two side lengths) where air passes? Richard