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Everything posted by DickT

  1. Wally, if you can tell one instrument from another then you can certainly tell if the tone has changed over time, whatever the cause. I have observed this effect with more than one guitar; I do sound for live gigs and for recording so am used to critically listening and analysing. As to the Grandson, yes his fluency, articulation and bowing greatly improved as he played in over a few sets but I still maintain that the instrument improved as it was played in (so does he). At a local folk club gig a well-known singer and player turned up with four guitars, he explained this by saying that the instruments needed to be played to maintain their sound so he played them all. I am certain that instruments not regularly played loose tone which can be recovered with playing in. I would endorse your idea of reviewing a mix at a later date when your ears have had a rest.
  2. Wally is sceptical of breaking in a guitar with speakers; I can say from experience that it really does work. I had a high end acoustic that was disappointingly rather dead on the middle strings, a few hours strapped to a speaker opened it up very well. In addition, my Grandson had not played his fiddle for a quite a while and when recording for a Zoom interview it was dull and unresponsive. By the time he had played two or three sets the tone had very noticeably changed for the better. Whether this effect occurs with concertinas is moot.
  3. The only thing that I have seen like this is if the mic gain is too high. Zoom cuts off the sound for a short while then resets. Check Audio Settings to see if the meter is going into the red. You may have already done this in which case I am of no help.
  4. Mystery solved. On 11 Aug David Robertson mentioned a serial number query from June 2019 for a 56 key ET Edeophone. He now has a 48 on his bench with the same serial no. The confusion was caused be me; in my query I gave a sn of 39825 for my Edeophone, it should have been 39823.
  5. When tying to play anglo I have had a tendency to use all my arm muscles to move the bellows. I have noticed that better players seem to use a lot of wrist rotation to do the reversals.
  6. I have always removed both the left side top Bbs on a 48 key or the top Ebs on a 56. Since neither of theses are valved both are open when the key is depressed so the closure is quite rapid, easily as quick as a factory fitted air valve.
  7. I have removed these reeds on all my concertinas for years and never had a problem. As Alex says, make sure you keep them incase a new owner wants them.
  8. I can endorse gtotani's recommendation of the Dabbler. I have had the the prototype for a week now and find it a very easy playing concertina. It is light in weight, normal sized and has voluminous bellows which are very flexible; the tone is good and the dynamic is well controllable. The construction is unconventional but it seems to be well made; I expect it to be at least as durable as the competition if not more so. There are some neat details such as the hand rest being adjustable for reach and rake.The only similar concertina I have played is an Elise duet, the Dabbler is far in advance of that in quality. The Elise was an instrument that got in the way of playing in a way that the Dabbler does not. The only drawbacks so far are that is a bit leaky (Paul says it is due to the type of pads) but this is well compensated for by the size of the bellows, also the buttons are un-bushed. They work smoothly but I cannot say how they will wear. I am a long time english player who started on anglo decades ago but could not get on with the system but I am now having a second try. After several upgrades I am now playing Aeola and Edeophone tenor-trebles so am comparing the Dabbler to very high end concertinas. Hope this helps, Dick.
  9. Clive, I have always heard it pronounced that way since I first got involved with concertinas in 1969.
  10. Richard, they must have been musicians and had hidden it.
  11. Very good to have this review as I have a 30 key on order. I am a long-time EC player but have decided to challenge myself with a new system and this seems to be a good way to get a not too expensive quality instrument to try. Now all we have to do is persuade Paul to make an EC.
  12. This is what I call a large crane duet! (sorry, I'm bored).
  13. Keagan, the Rochelle will do you well for a while but will eventually be limiting. As in anything, you get what you pay for and a more expensive instrument will be better in all ways. The bellows will be smoother and easier, the reeds will sound richer and will speak more easily and the action will feel better. It will also be more durable and will hold its value. I infer from your post that you have not encountered any other concertinas; when you do have a chance to try higher quality instruments you will readily appreciate the differences. The better tinas are not overpriced even though they are a lot of money. You can get a reasonable guitar quite cheaply these days but that is because of the volume of sales; quality concertinas are a niche market with low production volume so economies of scale do not apply.
  14. A Working Jeweller would probably do the job for you.
  15. Again, I could not resist this one: Anglo baffles me too, that's why I play EC.
  16. Paul, I agree with you on lazy EC playing. It is partly due to button articulation and partly poor bellows control. My tendency of old was to pull to bellows full then squeeze to empty which lead to unphrased and weak bellows reversals that were very audible. I now try to reverse at the end of phrases and to fan the bellows, even if I have used linear movement up to that point. The fanning softens the change and masks the reversal. It's not yet perfect as I am battling 35yrs of bad practice. Two of our professional Scottish EC players, Wendy Stewart and Frances Wilkins, both seem to use very short bellows strokes with frequent reversals. Button articulation also helps put the bounce into the music; Alistair Anderson advises playing as if the buttons were red hot, quickly on and quickly off. This gives very crisp notes, which can sometimes be too much, but that can be easily modified as required. Re the bellows waggle; can you get it crisp? I have tried this technique but it just sounds mushy. Of late I have been trying 2 and 3 finger hits as Simon Thoumire advocates. This is OK at slow speed but breaks down at performance speed when I revert to repeated single finger strokes that are not even. Once again, long time poor technique is holding me back. Dick.
  17. The consensus on here might well be neither. You already know that you like anglo concertina so you do not need a cheap one to see if it suits you. The money spent on either of these could go towards a better instrument that will play better, sound better and last longer, both in terms of durability and how long you will enjoy playing it before needing an upgrade. I am an English system player and have no direct experience of either of these tinas but I did have a CC Elise to try out a Duet system. Duet was not for me so it was sold on this site. The Elise was very basic in bellows and action but the tone was nicer than I was expecting. As a try-out instrument it was a low cost option but I think that its limitations would very soon have frustrated me and the same could well go for you. If you can afford it go for a higher grade tina that will last you a long time, it will be cheaper in the long run. In addition, if you do give up, a good instrument will hold its value well, should you wish to sell.. Dick.
  18. Hi Clive, I have had aids for a few years now to correct high end loss due to exposure to industrial noise. The first ones were not very good for playing music (they were horrible!) so they went back and I upgraded to a Widex model. These are not perfect in general social situations (so have not helped for conversation) but work very well for music by putting in much of the detail that I was missing. They are still a bit too toppy so will need some more adjustment. With the these aids I can now again get a mix that is acceptable to others whereas before I was putting in too much top to compensate for my loss. Listening to music there is no distortion of any kind and no feedback. I took a concertina to the appointment when I got the new aids to make sure that they were suitable. It took a few visits to the audiologist to tweek the prescription and it still needs some work but it is acceptable. I will go back when there is no chance of getting Covid. Do your aids cause problems with other instruments and with recorded music? I got mine from Specsavers and the local service has been very good but the audiology department is an in-store franchise so support may well vary. To get affordable high-end aids I took a discontinued model that was no longer being marketed. As to what is acceptable, distortion and feedback are not noises that you have just been "missing for a while". There are aids that will work for musicians and top-end ones should do the job with correct adjustment. It took a bit of persistence to get the right units but as I was paying a lot of money I was not going to be fobbed off. Dick.
  19. Maarten, As a professional player in another field you will know that a cheap instrument will hold you back. A good vintage concertina will be much better to play; it will sound better and will feel better. A vintage concertina bought from a good source at a fair price will hold its value so your risk of financial loss would be a lot less should you not keep it up. My advice is always to spend as much as you can afford and avoid cheap learners instruments at all costs. Do not be frightened of old concertinas, mine are 97 and 120 years old; how old are Strads?
  20. 429 is perhaps the last three numbers of his full service number, it was (is still?) common to use only the last three digits. I was Trickey 267.
  21. In Aberdeen (Scotland) they are known as Scaffies, which is derived from scavenger, the old name for refuse collectors. It is not gender specific although gender is implied by the make up of the workforce. Had that term been in use these songs might never have been written. Dick.
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