Randy Hudson

Before anyone points out the obvious, I already explained that the period would have been a bit early for the concertina - but they are not being THAT persnickity. But that raises another issue. Were guitars used aboard ship? Randy

Some local classical musicians are putting together a concert of the music from the movie “Master and Commander”. The period is the early 1800’s and the scene is a British Man of War. In the film, the Captain and the Doctor play classical pieces on violin and cello in the Captain’s cabin. I have been asked to add a couple “hornpipe sort of things that the sailors may have actually played on board”. Any suggestions? Stories to go with? As an aside: I love the tune “Sir Sydney Smith’s March” – but it isn’t the sound they are looking for. However, I believe that at least Sir Sydney dates from about that time. Anyone know about him, and/or about the history of the tune itself? It seems classically influenced. Randy Hudson

Over the last five years I have amassed a collection of 7 "fixer upper" treble Engish concertinas, mostly from E-Bay. I had visions of restoring them, but have decided I would rather play them than work on them. To avoid the hassle of selling them individually, I am hoping that someone might like the whole collection. They all need a lot of help, but a few could be playable with basic restoration - while a couple are probably good only for parts. The best of the lot is a Wheatstone with metal buttons and brass reeds. The others appear to be Lachenals, all with bone buttons and, I believe, brass reeds. There are three of the vintage wood cases, in the usual beat up condition. I paid between $200 and $350 for each of these instruments. I would send you the lot for $1800.00 plus shipping. I can send some photos if you have serious interest. E-mail, or go ahead and call if you want to talk. Randy Hudson gerber@whidbey.com 360.341-6382 Washington, USA

FOR SALE Lachenal Edeophone Tenor-Treble (serial #47735) 56 Metal keys / steel reeds / Wood Ends Lowest Note: "C" below "Middle C" This instrument is rather unique in a number of ways. The most immediately striking characteristic is its compact size and light weight. This is a result of its aluminum reed frames and smaller than standard size for a 56 key Tenor-Treble. The instrument weighs only 2.41 lbs (4 ounces less than my treble Aeola) and measures 6 7/8" across the flats (placing it midway between my treble Aeola at 6 3/8" and a friend's Tenor-Treble Aeola at 7 3/8"). Recognizing it's potential when I purchased it two years ago somewhat flawed, I sent it to Wim Wakker of "The Concertina Connection" for total restoration. Wim is a fan of the Edeophone and judged this instrument to be worth the effort. Surprisingly, he informed me that besides the aluminum reed frames, this instrument was constructed with Wheatstone riveted action. I have since learned that a very limited number of Lachenals were made with this action. The following restoration work was performed: *Ends repaired and treated with epoxy against cracking, and French polished. *New all leather 6 fold bellows *New Thumb Straps *New reed pan gaskets *New bellows frame gaskets *New thumb straps *Complete reed and action restoration consisting of: new springs, key hole bushings, key-lever bushings, key end circles, pads, and valves; regulation of the action, key travel and pressure; and resetting, voicing and tuning of the reeds to A=440. *New lined, hard shell case Because I have a preference for the larger and more rounded keys common on Wheatstones, I also had Wim replace all 56 keys with new Wheatstone style silver capped keys. At 5.1mm diameter, these keys are just slightly larger than the original 4.8 mm diameter Lachenal keys, but I find the increased comfort and playability well worth it. The new keys look and feel great. Finally, I indulged in two sets of custom reed frames and reeds in order to experiment with substitute note placements. So there are extra reed pairs that will fit the instrument, allowing for a substitution of a lower "A" for either the lowest "D#" or "Eb", and an "F" that can replace the lowest "Ab" or "G#". The first substitution makes this "A" the lowest note on the instrument. The second possible substitution mirrors what many players, including myself, have on their treble instruments - and so sets up the tenor treble to mimic this custom treble pattern, enabling the same arrangements to be played on either one. Notice that both of these substitutions are made for notes that are repeated on the instrument, so no actual note capability is lost, only choices of positions. This instrument is clearly a very fine concertina. The lightness, small size, new leather, the polish and the bright new keys all combine to make it look and feel like a jewel. The tone is lovely; it is somewhat subdued (apparently common with aluminum frames) but very pure and harmonically balanced. Loud volume is possible, but it wants to play softer than that. I would say a session player would be disappointed, but a singer or solo player would find it very appealing. It is particularly beautiful chording - because it appears to have less than usual overtones, individual notes seem to stand out within chords. The action is very smooth and fast. It is just basically very high quality all around. I am not putting this instrument on the market because I have to, or because I particularly want to. Quite frankly, I feel that this instrument is too nice to not be in the hands of someone who truly loves it, and sadly, after all my effort and expense I have found myself gravitating back to my treble instrument and not picking this instrument up for weeks at a time. I am learning that I am just not a tenor-treble kind of guy. I have $4,100.00 invested in this instrument. I would of course like to get that back if I can, and would sell to the first offer of that amount - but barring that, I am willing to entertain anyone with a reasonable offer and a good story. E-mail or call with any questions. I can e-mail photos to serious inquiries. Randy Hudson Clinton, Washington, USA 360.341.6382 gerber@whidbey.com

The epoxy mush was a clean, simple, and effective solution to my particular problem. I was surprised to find that on inspection, all four of the non-post screws were loose - so I used the mush on both screws on either side. Seems to have worked very well. I performed this evening for the first time in a while with no fear that I might lose a thumb strap at any moment. Thanks to all. Randy

Thanks for the tips. I also like the bolt idea very much. In fact, it seems so logical that I wonder if there is some reason they were not done that way from the start - other than the extra hardware involved. I suppose just to be able to work the screws without taking anything apart, as Paul's suggestion would allow. Paul - I actually hadn't felt your response inferred anything about my newbieness. It just strikes me that it may be useful to be able to "upgrade" - anyone know if this can be done?

Thanks for your quick replys - sorry I did not provide more info. The two screws in question are the two shorter ones holding the thumb strap to the WOOD top of the instrument. My previous experience is that these simply screw into the wood, while the longer one goes through the inner post (it seems fine). I haven't actually taken the instrument apart yet - hoping to do so only once for the fix. I assume the wood holes simply need to filled with something, and new holes drilled. Or possibley the holes need only to be "coated" with something to decrease their size a bit. I would be quite capable of doing this - I'm just asking what the "filler" should be. Would something as simple as epoxy, or perhaps woodworkers glue mixed with very fine wood dust be a simple solution? Or how about using longer screws and a small block of wood behind, like a metal top? - or a combination of the two for assurance? By the way - I am a "newbie" only because I recently re-registerd for the site. I actually have been playing about six years and done simple repairs numerous times. Can a guy get reclassified as "experienced"? I don't really care, but I would think the "newbie" classification affects people's responses.

The two shorter screws on one of my Englsih thumb strap have stripped. Any advice on best approach? Randy Hudson

Some years ago I saw a concertina player droning with a shruti box at the same time he was playing concertina. Very effective. He had the shruti box fixed to a piece of plywood so that when he rested his heel on the plywood it stabilized the box and enabled him to use that same foot to manipulate the instrument in a sort of sideways motion. A shruti box is sprung in the open position, so he was able to force the bellows closed by pivoting his foot, then allowing it to spring back open before repeating. This instrument has two bellows, so that the "pumping" bellows fills the second bellows and air chamber - and the reeds utilize the (pretty much) constant airflow from the secondary chamber to maintain a non-stopping drone. In this way, it has an advantage over other bellows driven instruments that necessarily have to interrupt the drone to change directions. The shruti box can play a single note or a chord, depending on what notes are available. I got a shruti box myself, but never used it in this way very much. It was difficult to find one of very high quality - though they must surely exist. I do like the concept, however. I got excited for a while, and actually researched harmoniums and pump organs and designed a foot driven droning instrument that I would love to have - but I have not gotten around to building one as yet. Perhaps in retirement. While doing this research, I found out about the Belgian Foot Bass (through concertina Connection) and purchased one. It is a real hoot. I have performed with it on stage a number of times and it is quite a crowd pleaser. It plays only as you pump downward, then springs back quickly. Basic Om-pahs and bass runs are simple. I don't play concertina at the same time, but I can strum guitar or mandolin, or shake the bones - which is quite a sight. It doesn't drone very well because of the bellows breaks, and also chords don't sound very good. I also recall seeing a fellow play harmonica attached to one of those holding devices that hung around his neck, while using both hands to squeeze a shruti box. His box was one of the thinner ones I've seen, and pulsed heavily as he squeezed. He used this pulsation of the droning chord to set a rhythm for the harmonica. It was very cool.