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screech

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  1. Folks I'd love to give my mother a chance to try out the concertina, she loved playing with my Tedrow over the holidays. I was trying to find a solution for her. She is in last 60s, healthy but I dont want her to strain with stiff bellows and unresponsive reeds. Is there a midrange concertina (other than the Stagi) that folks can recommend. Thanks.
  2. Stop worrying about it and get playing chris Well said Chris....especially as a "Chatty concertinist"
  3. I saw this on Wally Carrolls website today (shopping for a case): "The reeds used are Traditional Concertina Reeds that we manufacture ourselves. They are closely modeled on the reeds from a 1914 Wheatstone Linota. "
  4. If hybrid concertina's are a unique instrument or unique class of instrument, then they can be compared and evaluated soley on their own merits against other contemporary instruments. There is no need to compare them against any historical standard, because they are something different. If someone is in the market for a hybrid, they try all of the ones currently offered and pick one to their liking. Done deal. Btw...If this is the case, will accordianish sounding hybrids reset the standard for concertina tone? One the other hand If hybrids are replicas then I'm very interested to know what is it that they are trying to emulate, especially and primarily from a tone perspective. Will the hybrid makers efforts to work with reed makers like Antonelli, and advances in reed pan design, etc continue to close the gap to vintage instruments? Are there specific standard bearers (makes and/or models) in vintage instruments which the hybrid makers are working towards? My interest is limited to Anglo C/G concertinas, but experiences and perspectives across many types would be relevant for my questions. Thanks a mint for your thoughts!
  5. Thanks for the reply's and feedback. Although I'm obviously pleased we've made a collective restatement of the high regard in which Bob and Frank are held, I had hoped to elicit an analytical discussion about design objectives, sound/tone comparisons and goal state for these two makers concertinas. I guess I'll have to go off and sulk and wonder why if wine critic Robert Parker can describe a 2004 Chateau Margaux has having "a superb blue/purple color to the rim as well as sweet aromas of flowers, blueberries, creme de cassis and licorice... and a ....fabulous fruit intensity and silky-sweet tannin in the long finish..." that a knowledgeable, less pompous (Parker self labels himself as the "World's most influential wine critic) and equally articulate member of this forum can't describe the humble sound of two distinctly different sounding concertinas. ;-) I'm gonna try to pose my question in a different way.....
  6. To my ear Frank's concertina sound has a similar sound to the Suttner sound clips. Suttner describes concertinas with metal ends as having more overtones. I know Frank has wood fretted concertina, I wonder if it has a different sound.
  7. Curious if anyone would care to share their overall sound "style" comparisons of Frank's and Bob's concertina's. Frank and Bob possibly you would be willing to share if there is a particular type of sound you are trying to achieve? In this case I'm really asking a pretty general overview. For instance listening to sound/video clips I could find on the net, it seems like Frank's trying to get a sound that I've heard described as "Nasal" or maybe "honking", where Bob's seem to be more...I dunno maybe clean/straight/tight? For sure I have been able to tell with 100% accuracy (so far, administered blind by my wife) which clip is from which concertina. So...thanks for any feedback.
  8. " The opinion of many people was that a child, that is interested in Concertina, should be given better instrument from the start. Not a Suttner, but a Morse or middle range Lachenal. Jackie may be good for schools, that have low funds, but a parent should be able to come up with the best option for the child." I agree with the sentiment that a young beginner needs a solid instrument, but I do think that for a lot of situations the Rochelle/Jackie are ideal. Here are a few reasons I would suggest to start small: 1. Stardard Ergonomics, mechanically consistent, predictability, and maintainability are crucial to beginning musicians. This is especially true for beginners without ready access to a mentor/teacher and young growing bodies. Sound, tone and aestetics are secondary (important, subjective but secondary) in the beginning. 2. Players choice, a person walks into a room with a dozen instruments, plays them all, picks one. Second person walks into the same room, picks a different one. Point here is that for most "real world" situations, there is finite financial resources available, don't blow it all in one shot on what YOU think sounds good. With a $2000 budget, I'd buy a Jackie and then let the student know the other $1700 is available for them when THEY are ready, to pick an instrument THEY choose. 3. Don't pressure the kid with an overly expensive instrument they feel obligated to love, even if they don't. What if they decide they'd rather play anglo or try the fiddle? Depending on the kids age and responsibility level, this is why renting is so ideal. So definately don't buy junk, or a fragile antique. Fund the journey, let them upgrade as they go, don't make a long term commitment on their behalf to a particular instrument.
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