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Everything posted by DickT

  1. Here are the other two files PS All recordings were flat with no EQ. Stereo NT5.mp3 Stereo M2.mp3
  2. Following a query about concertina mics posted last Summer I offered to do some tests and post the results. I have finally got around to sorting out and compressing the audio that I made last December. The tracks were simultaneously recorded playing an Edeophone into four mic arrays :- Single SM57; single Rode M2; stereo Rode M2 and stereo Rode NT5. The tune was recorded 3 times in one take, first was close miked, next at about 1.5 feet and finally about 3 feet. The gain was set the same for each array as was the output volume. I did not make any effort to stand rigidly still but neither did I move around a great deal. The recording was direct into Cubase with no PA so they are not a live stage feedback test. However, the better the volume from a mic or array in a given situation the less likelihood of feedback when live. When I have time I will do live tests with the same setup. Due to upload limits there are only two files with this post, the other two will follow. Dick. M2.mp3 Concertina SM57.mp3
  3. When I were a lad in the 60s dots/word were streng verboten and our venues were lit by the warm, gentle glow of candles. Now it seems nearly universal that printed material and electronic devices are used and the venues glow with a blue tinge. My preference is to learn from dots (I have a rotten ear) but only perform in public from memory. I do not think it is possible to give a proper rendition, especially of a song, if your nose is stuck to a hard copy of some sort. Expression, phrasing and entertainment value are lost. Unfortunately I have upset some performers at our local session by asking them to actually learn some songs by heart. One answer was " I am too busy to learn stuff ". To my mind not bothering to learn material is disrespectful of your audience, and that applies even in a session, and is just self-indulgent. I could go on but that too would be self-indulgent. However, the worst that I saw was a lass singing to iphone backing including a long instrumental break. Back to the OP. Unfortunately, yes, yes and it depends on the session.
  4. I would second Jack Hayward. Their rates seem competitive and a recent claim for shattered ends on a dropped concertina was handled with speed and no quibble. We have multi instrument, PA and 3rd party liability with them for a very good premium.
  5. I have sold two concertinas this year through this site and it went well each time.
  6. Christoph, Unfortunately it was sold some time ago. I Hope you find one elswhere. Dick.
  7. He said trad reeds and bellows. That is despite what looks like a printed set of bellows in the article. Coming soon, perhaps. Dick.
  8. That sounds very good. So..... what would it cost as a production-run instrument? If it comes out at a reasonable price it would be a very good starter instrument and would make the concertina much more accessible. I don't doubt that this method could be used for any type of concertina and could revolutionise the instrument by allowing easy experimentation with many variables. Dick.
  9. With his wealth I would have expected a better tina.
  10. I am on holiday at present but will do some experimenting when I get home and will report on the results. Set ups to be tested will be two spaced condenser mics, a singe mic located centrally above the bellows and also a single placed centrally in front of the bellows. This latter placing should help with the feedback problem as the monitors will be in a null point to the mic. When placed overhead and pointing down the monitors are on the edge on the pickup range of the mic with the attendant danger of feedback loops. The mics will be the previously mentioned Rode M2s.
  11. It could be that the Microvox has an omni-directional pick-up pattern so take sound from the monitors and the room, as well as the instrument, which tends towards a feedback loop. Mics like the KSM 137 have a cardiod pick-uk pattern which helps to reject any sound source except the instrument.They are also better quality than the Microvox which will also help with feedback rejection. In general quality (not cheap) mics will give better fidelity and easier set-up. An example of a bad mic is the tie-clip mic frequently used as a low cost guitar mic; they are a nightmare. If the gain is raised enough to get sufficient volume the feedback is horrendous. I have been doing sound for acoustic gigs for 30 years and my experience is that quality mics will give much better sound and be easier to work with. Having said that I have not yet experimented with amplifying the concertina but am currently looking at using two end-addressed small condenser mics on a T bar, one addressing each end of the concertina. By using good, sensitive units the gain does not have to be too high (which helps combat feedback) and the mics do not have to be so close that action and bellows noise become a problem. Before I get the small condensers I might try the Rode M2 stage condenser vocal mics that I have as their tight pick-up pattern and good sensitivity may well be a good indication of the suitability of pencil mics such as the Rode NT5s. Because the sound source moves as the bellows open and close any mic that needs close micing will suffer from volume variations. A good condenser mic, by virtue of its greater sensitivity, will allow the mic to be further away so reducing the perceived volume changes and even out the sound. An answer to the insufficient monitor volume, which leads to feedback when raised, is to use hard-wired in-ear monitoring. They are not as convenient as wireless units but are much cheaper and by eliminating the open monitor speaker they remove one of the feedback sources. Dick.
  12. The concertina now has a new home doon sooth. Dick.
  13. Currently I have what looks to be a firm offer so the 'tina is off the market. I will let you know if it becomes available again although I am worried about shipping to USA due to horror stories about CItes and Customs. Dick.
  14. Dowright estimates 1919.
  15. Hi Everyone, I have a Lachenal ebony-ended New Model Treble for sale. It was bought about seven years ago from David Robertson after tuning and a full overhaul and and has been little used since then. The tone is mellow, well suited to singing and though the action is fast enough for quick tunes it would not hold its own in a loud session. It is in very tidy condition with steel reeds, 5 fold bellows, concert pitch and original leather case. I am selling as it has been superseded by an Edeophone and an Aeola TT. If you are near Aberdeen (Scotland) feel free to come and try. £1550 plus shipping. Dick.
  16. Hi RJ, I also have a 56 key Edeophone extended treble and it is 6.5 ins across the flats. I expect that this will be the standard size. How are you getting on with yours? Mine is about the best concertina I have owned and very versatile; soft enough to sing with but with plenty of punch for a session. My aim now is to find a tenor treble Edeophone. I saw one in Cornwall recently and it was a beauty. Unfortunately the owner would not part with it. Dick.
  17. Another dating query. Edeophone extended treble, ebony ends, steel reeds, 5 fold bellows, sn 39825. New Model, ebony ends, steel reeds, 5 fold bellows, sn 57494. Many thanks Dick.
  18. First advertised by Mikefule in February I bought this concertina to see how I could get on with a Hayden Duet. Unfortunately the result is the same as when I tried a Crane some 45 years ago so it is now back on the market. Still in perfect condition and very little played it was originally owned by an elderly gent who liked trying out different instruments; I bought it from his estate. As it is still pristine I am asking the same £280 that I paid for it. A soft case is included and the customary fee will be paid to the site. I would prefer to sell in UK, Ireland or Europe; I would expect that shipping and taxes would make it too expensive elsewhere.
  19. Coffee goes better with folk music than beer!? Wunks, have you been to a session in a good British pub where the real ale flows freely? Having a pint or two with the music is essential to my concept of folk music. You just cannot roar out a belting chorus on a cup of coffee. To the original question; here in Scotland, in the Aberdeenshire area, over the last 10-15 years we have had a gradual resurgence of loosely folk sessions but mainly with an older age group. We were at a club in Aberdeen recently where I estimated that the aggregate of the ages of the 20 or so people there was about 1400 years. However the style of music and performance has changed in our local session. Now there is a move away from more traditional material to songs on the edge of the folk definition and bordering on pop which are read from song sheets or tablets.(An aside: When I started out in folk clubs in the late 60's they were in dingy rooms lit by the gentle glow of candle light. They are still in drab rooms but now the pale blue glow of tablets predominates). Recently I even heard two songs from Les Miserables at another local club. I could go on about our preconceptions of the repertoire enjoyed by our ancestors but I suspect that this broader range of materiel is nearer to what might have been sung of yore but it is not to my tastes. Notice the thread drift? When I was in the States 30 years ago it was very difficult to find any folk-style music and during each two month tour I suffered acute withdrawal symptoms. I cannot comment on the current scene. Dick.
  20. I was playing today and started listening to the difference between the pad noise on my Edeophone 56 key ET and my Aeola TT. The edeo has a much sharper and louder pad slap. Both 'tinas have been relatively recently re-padded so I was wondering what might cause the difference in sound. Any ideas anyone? Dick.
  21. Try The Steamboat as reel, it goes very well.
  22. To my mind the difference between a polka and a hornpipe is in the phrasing. A hornpipe goes tum-te-tum-te with strong 1 and 3 but 3 is slightly less than 1, all played as a 4 note phrase. Triplets tend to put a bit of a 1-2 feel in but triplet 1 is still stronger than 3. A polka has a strong 1-2 feel to it with the first note of each tied pair having equal weight in the bar. When written the hornpipe has blocks of 4 tied notes (usually) emphasising the 4 note phrasing as against the polka's tied pairs. A reel has a more running feel to it going 1234-5678 with 5 being slightly subservient to 1.
  23. Hi Stu, English concertina is fine for what you want. I play trad tunes and songs and find EC great for this. The thing to watch for when playing tunes is that you attack the notes quickly and also take your finger off sharply so that the notes are clear and well separated. Not doing this tends to smear the melody and then the tune lacks definition; this is what gets EC a bad name when players do not take care. I second mdarnton's recommendation of Alistair Andersons workshop. Dick.
  24. Hi Bob, A capo is used as an easy key change device. In the case you quote the guitarist has changed the key from D to E (up 2 frets) but, for their own convenience, is still able to use D chords. For following on a concertina you need to read the chords played and mentally transpose. The problem for an anglo is the increasing difficulty in accessing keys away from the home keys, even the EC gets difficult with more sharps and flats (for me anyway). I will be down in Penzance in Dec if you would like to talk about this more. Dick.
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