Graham Collicutt
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Posts posted by Graham Collicutt
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One solution: http://www.concertina-spares.com/catalogue10.htm#12 and while you're waiting use some string or easier to get tight, several wraps of button or better, harness thread.
Scroll down to bottom of page.
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The Abbess? past TOTM.
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An alternative Power supply box with phantom power from Orchid Electronics, has worked well for me, bought 2nd hand but still not had much use.
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https://soundcloud.com/gcolli/six-irish-polkas
Too quick to do them justice, one howling error ( I've recently changed high c natural from pull to push ) plus a few more.
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Slightly off topic, but here's a clip of Sydney based Crane player Ralph Pride using his Crabb for song accompaniment.
As ceemonster said, a pretty Jeffries-ish sound.
And following that link you come across this: https://www.youtube.com/watch?v=VSelMln3hAY
I have a friend with a metal ended Jeffries Bros english pitched in G, so a sort of tenor, with 4 fold bellows and no papers.
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Blocks supporting reedpan loosening, or just a leaking pad.
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Maid of the Mill, Ilmington played slowly and then rapper speed?
https://www.youtube.com/watch?v=KZKAl8zyjKc
https://www.youtube.com/watch?v=vo_QD6M8Z8c
I have now got close with the tuning, I will wait a week or so. It should be 1/6 comma meantone, converted to A/E using Wheatstone reeds with
G naturals on pull under both little fingers. I did a quick semi bushing by sticking felt flat to fretwork after punching holes.
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Another recording with the Lachenal A/E conversion. No attempt to play it correctly.
Derek, I am normally looking to cross to D row about 80% of the time, I do a lot of octave playing.
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One very late effort with lots of mistakes: https://www.youtube.com/watch?v=2PiwVWB2BQE
I had an idea, to convert a basic 2 row Lachenal to A/E. The donor reeds came from a 1900 ish Wheatstone McCann. 6 months later it is nearly finished. Still more tuning needed, I am attempting to use 1/6 comma meantone. I didn't have required reed for lowest A reed so used C#3 which would have be lowest note on 3rd row and put G4 reed on pull which works surprising well as chamber was meant for a G3 reed. The G5 reed replaces G#5 reed on A row on the right hand side.
Graham
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Sounds a bit like a Wikki/Hayden.
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On a visit to Colin Dipper, where I was trying to see if I could improve my then current anglo, I made a suggestion of, could you increase the size of the vent hole. Reply was no, '' you would just make it sound like an accordion.''
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I am happy reading on C/G and G/D but have recently acquired a F/C and was trying to look at Josefins Dopvals printed on F. I had to give up and use the G version.
My personal preference for a 30 button G/D is for the Wheatstone system. It is fine having a single G# on push, I use the next 3 buttons often, but I am wishing I had a top A on the pull ( I may replace high C on button 5 accidental row )
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Steve Turner: http://steve-turner.co.uk/index.htm
English concertina, but he has some bass bisonic buttons to increase range. I would rate him in the top 5.
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Concertina Spares http://www.concertina-spares.com/index.html
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Here we have a typical 20 key brass reeded Lachenal from around the turn of the century in original condition. You will, of course, spot the slightly unusual thing about it that occured to me after a second or third look?
No (visible) pads or levers.
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Hi
Just my biased opinion, if you are struggling with left hand little finger, I suggest thinking about a G/D. Most of playing is transferred to right hand side and minimal need to use left little finger. Playing in C is not difficult but you would need 24 plus buttons.
One make of small concertina: The Marcus Traveller http://www.marcusmusic.co.uk/concertinas.html
Graham
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Here is my shaky effort: https://soundcloud.com/gcolli/the-abbess-mp3
Played on C/G Phoenix anglo with Wheatstone reeds. It is the hardest tune I tried to learn for a long time and needs lots more work.
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I was going to reply to the request for information on world war II Wheatstones by pointing to the article that was on the home page but it is no longer there.
Graham
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Here is a Spotify link: Andy Cutting – The Abbess I hope to Andy Cutting playing the Abbess. It is in C but more importantly there is no repeat for the B part.
Graham
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They are still made, search for organetto.
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So you're just a little behind me with your knowledge
There are probably some printed resources on accordion restoration, but most practical aspects of bulding free reed instruments are "secret of a trade"... with very limited "first hand" information. Bob Tedrows photo essay on building one of his concertinas can be found on his site - this is by far the most extensive set of informations regarding building a hybrid I found. There are numerous articles spread out on the web. Most of them aren't easy to find by google - search forums about accordions, this forum, bandoneon forums, melodeon forums etc... There were a great blog with history of "making concertina on the kitchen table" but I can't find it anymore - maybe someone here knows the person who build that instrument? Or maybe the builder himself is here?As for low vs high pressure: pressure of a bellows is determined by the area of its cross section. Accordions have at least twice as big as concerinas, so when you squeze them with same force they produce lower air pressure. From what I managed to learn, more expensive accordion reeds are engineered to have better response at low pressures (can play softer and quieter) and more stable frequency across different volumes/pressures.
it is here: http://www.concertinamatters.se/
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Old Molly Oxford
I have been remiss in not offering Morris tunes in these TOTM polls, so here's one of my favorites – one that I rarely get to play. Play it like you'd play for guys and gals with hankies and bells - or give it your own interpretation.
Not completely true as the Wonder Hornpipe is the tune used for the Lively Jig (an unusual 4 man dance) from Ilmington.
Graham
Wheatstone Aeola 64 Key Baritone/treble English For Sale
in Buy & Sell
Posted
It is re-listed at a lower price £3600, as an auction, not buy it now.