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Clive Thorne

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Everything posted by Clive Thorne

  1. Good job he's not trying to set up business in Australia!
  2. Seems an awful lot of effort to make something that sounds Awful!
  3. Keep your fingers moving! Drumming the finger tips as quickly as you can and individually. Also some stretching exercises to improve yor span. (It might not actually increase your span, but will make reaching it more comfortable).
  4. Melodeon (probably my first instument, though I pick the anglo up more these days), and a bit of bass guitar. - And I played a bit of trumpet in my 40s.
  5. I have done similar, excepth the the splint was with 24 hour araldite, with a few individual stands of fibre glass imbedded in it. Needed a bit of tidying up and sanding afterwards, but so far holding up well.
  6. Even if it were a Crabb it would likely still be a mighty fine instrument.
  7. Pedant alert/ I suspect that JK's a three row 'Jimmy Shand' box would have been B/C/C# / Pedant alert
  8. Concertina for child?. Seems like a fair swap.😁
  9. Following on from this - If you can't hear yourself then take heart that you are probably playing the correct (well, not wrong) notes. If you play inappropriate notes then you will probably hear them.
  10. Took up morris dancing when I was around 17 (1975 ish), which was, as far as I recall, the first time that I encountered concertinas/melodeons. Bought myself a trusty Hohner pokerwork about 4 years later, and a 20 key Lachenal about 4 years after that. Then, being single and without cares and woes, bought my current 36 key anglo. Then got married and kids came along so the concertina was sidelined while I concentrated on the melodeon, which I was better at, and played for morris dancing (when not dancing). Kids have now lefty home & I am retired, so now taking the concertina more seriously, having lessons etc. Hoping to get back into a Morris team this year (As a musician - my knees are shot) to get into playing out again.
  11. I am an anglo player. Having tried an english concertina (just the once) my first impression was that if I pulled hard on the bellows the whole thing would jump out of my hands. Obviously this is not the case as thousands of english players prove every day!
  12. Ah, you must have one of those posh ones! 😄
  13. Depends on your style I guess. As a general rule I try to keep the tune on the right hand unless I have to go to the left for the range, so that the left hand is free for chords. There not many times where I chnage cross sides simply to get a smooth run.
  14. I see that you have wrist straps, does this help with the bellows expression?
  15. I would make the most of the next two weeks to live a normal life, before the addiction gets a grip.
  16. And that one button is the air button ?😄 PS: I know that th air button is not normally included in the count.
  17. Let us know if it helps. It could be something else altogether!
  18. Microphones "Suffer" from something called the proximity effect, in that if the source is too close to the microphone then it does affect the tone, emphasising the lower frequencies. This can be used constructively to make a singerers voice sound a bit "richer", but can also be a pain in the bottom. Possibly part of the problem? How far was the mike from the concertina? Of course if you move the mike too far away they start picking up everything else as well! Ideally you'd probably want a separate mic for each end, but unlikely you'll get this in an open-mike environment, or the time to fiddle with the set up.
  19. Here's my 36 key Jeffries (probably built by Crabb). Note: when I bought it the "drone" button had nothing on it but had been novelty sounds, so I got Colin Dipper to convert it to notes. The pull C and push Bb being my choice. Also the top (ie nearest the thumb) righthand C row button has a top Eb on the Pull, which my teacher (JK) suggested I changed to a D5 on the pull, as it would be far more use (He was right). Also note that it is only 51/2" across, and is pretty full, which may explain why it is a 36 key. https://anglopiano.com/?_30_eFHhJKNMmn_170_QPPQsSVtTX._15_cGGIijkLMNlJ_90_rvoOqpSRuTwURq.IHjlMNOopqLm_140_poSrUTvuYwtx._375_ni&title=Clive's 36 Key Jeffries (/Crabb)
  20. Well, you learn something new every day - I'd never heard of Scientific Pitch Notation.
  21. I suspect that there is no right or wrong here, but how do you/most people do it. There seem to be 4 basic ways that I have come accross: 1: Lowest octave identified by capital letter (C), Higher octaves indicated by a number of "Primes" (C', C'', C''' etc) 2: All octaves identified by capital letter (C) and a number, Lowest octave being number 1, i.e. C1 C2 C3 etc.2: 3: All octaves identified by capital letter (C) and a number, with ocatve number taken from piano scale, i.e. lowest note (G/C anglo) being C3. 4: Lowest octave being in upper case, next octave in lower case, above that "Primes" as option 1 above. And I am sure that there are other variants out there. Which do you use, which do you find easiest to use? I currently use option 1 (eg as below). But to be honest I very rarely need to look at the chart these days, perhaps if I'm looking for some obscure chord, but if you're discussing layouts with others, or letting your teacher know what you've got, then it can be useful.
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