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About Steve_freereeder

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    Chatty concertinist

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    South Yorkshire, England

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  1. Steve_freereeder

    Wheatstone Linota sn#27957

    Yes - I thought that would be your reasoning, but I would point out that a 45-key Jeffries is definitely much heavier than a 40-key Wheatstone. And not all of us play Irish style.
  2. Steve_freereeder

    Wheatstone Linota sn#27957

    Why do you say that? Assuming it is in good playing condition, a Wheatstone 40-key anglo of this period should be a very fine instrument. It can do everything a 30-key anglo can and more besides (some really usful alternatives and reversals, etc). The difference in weight is slight and not normally a problem.
  3. Just a heads-up for this day of workshops run by the East Anglian Traditional Music Trust, on Saturday 19th October in Stowmarket, Suffolk. More details here:
  4. NEWS! Bookings are now open for the new East Anglian Traditional Music Trust venture 'Pressing the Buttons' workshops, going ahead on Saturday 19th October at the Museum of East Anglian Life, Stowmarket, Suffolk. Tutors are Sally Barrett (English concertina), Alan Day (Anglo concertina), Otis Luxton and Steve Dumpleton (melodeons). Also sessions on Saturday lunch time, plus a Saturday evening concert (details to be announced). On the Friday evening there is an evening of Traditional Music and Song with a session led by Suffolk-based Company of Horham Old School who are being joined by a number of local musicians. The MC for the evening is Richard Cove who regularly hosts a Traditional Music session at the Blaxhall Ship Inn on the East coast of Suffolk. Full details and booking information HERE
  5. Steve_freereeder

    Success with lubrication

    Replying to an old thread which seems to have resurfaced... Abrasive contamination is certainly a risk if you use graphite obtained from pencils. The pencil graphite 'lead' is mixed with clay as a binder and is mildly abrasive. The harder the pencil, the greater the proportion of clay. Even soft pencils, e.g. 2B, 4B, etc., contain some clay. As advocated by some earlier in this thread, the best source of graphite is locksmith's graphite which is the pure form. No clay.
  6. Ah - OK, I see what you mean now. I misunderstood your post, sorry.
  7. The Dippers (Colin and Rosalie) are English! They are based in rural Wiltshire in the south of England.
  8. Steve_freereeder

    Concertina care

    Perhaps you need to worry more about corrosion on the reeds and other metal parts of your concertina, from air-borne salt water droplets. Where I used to live in south-west Wales, about 1/2 mile from the sea, mechanics at my local garage would report that car bodywork was always prone to far more rust compared with cars based several miles inland.
  9. Steve_freereeder

    Anglo GD Alt Layout?

    I came upon this topic by chance - I don't often read this forum. Some points: 1. The generic G/D Wheatstone layout chart shown by the original poster was created by me. Not sure how it has come into the public domain in this way. I have a variety of layout charts which I have made over the years and they are stored on my computer hard drive. I am happy to share them with others, but it would be nice to be credited as the author. 2. The layout chart in question is based on my own Dipper G/D anglo but chart referred to does indeed have a couple of typographical errors which the OP has queried. In particular, the A#4 on the LH side should indeed be A#3. The C6/E6 at the end of the RH side top row should also be E6/C6. It's like that on my Dipper and in any case it makes far more sense that way and I can't imagine why anyone would really want it the other way round. 3. Apologies for the errors and many thanks for bringing them to my notice. I have corrected the errors as discussed and I attach the amended G/D layout to this post. Steve GD generic anglo concertina layout.pdf
  10. I've done the opposite too. On my Dipper there was one note which was obviously sounding louder than the adjacent notes, but otherwise responding very well. Replacing the vinyl spring with a slightly longer narrow strip cut from a vinyl melodeon valve did the trick and the note now sounds balanced with its neighbours.
  11. My Dipper G/D anglo has the larger valves similar to such as Theo has described: leather with a thin vinyl 'spring' held in place by a thin leather 'dot', just like you see on larger accordion/melodeon valves which have the thin steel spring. I cannot imagine for one moment that Colin Dipper, being such a superb maker and craftsman, would use this type of valve as a botch or a trick. Admittedly, his vinyl springs are generally shorter and lighter weight than those in Theo's photos and the valve construction is neater too. One advantage of the vinyl spring and leather dot is that the valve resistance can easily be adjusted by carefully trimming the length of the vinyl spring to make it lighter, or if more resistance is needed, by removing the 'dot', substituting a longer spring and regluing or replacing the dot. No need to remove the entire valve. Photo of the LH reed pan of my Dipper anglo attached. You can see the vinyl springs and dots on the larger valves.
  12. Steve_freereeder

    Concertina Bow Arm

    Like Howard Jones and a couple of others on this thread, (a) I play the anglo mainly in the 'English' harmonic style and (b) I am quite strongly left-handed. I do sometimes stand up to play but mostly I sit. When sitting down, I play the anglo with the RH end resting on my left thigh and use my left hand and arm to move the LH end of the instrument. This may be because I am a melodeon player too, and there it is always the LH end which moves. On the anglo, I have no problem in moving my left hand fingers around to make and change the chord patterns as needed; there is no compromise of the stability of the instrument nor any difficulty in reaching all the buttons. I have occasionally experimented with switching the static end and the moving end: keeping the LH end on my right thigh and moving the RH end. Yes - I can do it and my playing doesn't seem any different in terms of being harder or easier, but it just does not feel right, which I attribute mainly to my left-handedness. So eventually I revert back to my normal comfortable style. Ultimately, I think it doesn't really matter which method you adopt, so long as it works for you. As I tell my students, there are no rules. But I would also advocate being open-minded and being prepared to try other things from time to time. You might discover something new, or perhaps simply confirm that your previous approach was the best for you.
  13. I'll be running an anglo concertina workshop on the Thursday morning, hopefully in the Middle Earth at 10 a.m. - 11:20 a.m. It will be aimed at Intermediate to Advanced players and will explore the so-called 'English' harmonic style of playing*. You will need a C/G anglo concertina, preferably with 30 keys minimum, although it will work in part on a 20-key instrument. It will not be suitable for G/D concertinas, sorry. I will not have the time to run the workshop for the two systems in parallel. * NB - it's not an English concertina workshop!
  14. Steve_freereeder

    Witney Supersqueeze

    Dave Townsend has asked me to post the following on this forum. The tutors are now sorted. A NEW WEEKEND FROM HANDS ON MUSIC WITNEY SUPERSQUEEZE A Weekend Music Course for Concertinas, Melodeons and Accordions Murray Grainger (Accordion), Robert Harbron (English Concertina), Paul Hutchinson (Accordion), Ollie King (Melodeon), Geert Oude Weernink (Melodeon), Matt Quinn (Melodeon & Duet Concertina), Dave Townsend (English Concertina), Andy Turner (Anglo Concertina), Rees Wesson (Melodeon) When & Where? This new event will take place at Henry Box School, Witney, nr. Oxford, on 10th - 12th November 2017. What’s New? It’s a larger-scale weekend replacing Concertinas at Witney, Melodeons at Witney and Accordions at Witney. Some course units will be for specific instruments, some will be for any squeezebox, and there will be band and ensemble options as well. What’s Old? Like the former Hands On Music Weekends, it will follow the same structure of course units, working with different tutors, and a concert with them on Saturday night. Music will be available a few weeks beforehand. And as always there will be top-rated tutors, some familiar faces and some less-known, all with an established track record in teaching and inspiring. Like the former weekends, there will be detailed workshops on aspects of technique and traditional styles, as well as ensembles and accompaniment. The weekend is non-residential, and is for adults who can already play their instrument. When can I book? The new website is still under construction. We’re hoping to open bookings in about four weeks’ time.
  15. I also much prefer the Wheatstone layout of the top row on the RH. That's partly because I learned from Brian (thanks Brian!) but also because the Wheatstone system inherently follows the mirror octave spacing of 4 buttons on the push and 5 buttons on the pull, which makes playing in octaves, e.g. in the style of Scan Tester, far more logical (to me anyway). Cheers, Steve (escaping from melodeon.net for a while)