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Pete Dunk

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Posts posted by Pete Dunk

  1. Hello Dan, welcome to the forum. Which particular flavour of concertina rocks your boat? As a music teacher I bet you've gone for the English although duets appeal to many formally trained musicians.

     

    I'll be picking your brains about rhythms soon enough!

  2. I'm no expert on this but the layouts look quite different to me. The MacCann has six rows of buttons and the Crane five, I've not paid much attention to the Hayden but I have a vague recollection that it looks more like an anglo layout than anything. A duet midi concertina could but made but not an all systems one I fear.

     

    I wouldn't be at all surprised to see Concertina Connection bring out a Hayden midi in the fullness of time though.

  3. A while ago I bought a 1916 model 2 Wheatstone 48 key treble - rosewood ends, nickel buttons, brass reeds. I was quite surprised to find that all 96 reeds were valved, and they all looked original or at least quite old. I thought it might have been re-valved by an inexperienced repairer who didn't realise that the top few notes on each side aren't usually valved at all (as I understand it).

     

    Recently I came across a mid range Lachenal 48 key treble - rosewood ends with metal inlays, nickel buttons, 5 fold bellows. Quite a nice looking thing but needs a fair bit of attention to get it back into playing condition. Again it has valves fitted to all 96 reeds. Did I misunderstand the description I read somewhere that said that the higher reeds in a treble (a few on each side) weren't fitted with valves at all, or have I found two fairly good quality instruments that have suffered at the hands of inexpert repairers?

  4. Sorry Robin I didn't realize we'd jumped back to the first of the Aeolas and I missed any reference to a serial number for that one. I agree the entry is odd and there are several other entries on the same page which are similar but the fact remains that a tenor concertina has only 48 keys. A 56 key tenor can only be a tenor/treble as far as I'm aware, if it was a tenor extended down that would be the same as an extended baritone wouldn't it? :blink:

  5. Something else that is interesting re. this Aeola (or it might just be me not understanding the Wheatstone archive shorthand.)

    Model 19 is a tenor treble but in this case it says "tenor" in the entry,which it does not usually do for a T/T......it just gives the model #.

     

    I don't know if we're looking at different things here but I read the entry for 30022 as 'Octo' which is shorthand for the octagonal Aeola.

  6. It was originally on at GBP0.99 start but someone must have told him it's valuable (there was a question re the number) and advised him that it was valuable. I think one of the others mentioned was bought by Neil Wayne for a couple of hundred a while back (I could be wrong there).

     

    Neil Wayne is now in on the bidding for this one, it will be an interesting sale to watch. <_<

  7. It's like a comedy of errors John. The original workshop start time of 2.15 was put back an hour to 3.15 because of a scheduling cockup so you might easily have made it for the whole thing. Sounds like you'd had enough squeezing for one day though!

     

    Stopped at Northiam station eh? I work at the other end of the village!

     

    No doubt we'll run into each other at an ICA meeting in Canterbury before too long ...

  8. Wow!

     

    GBP3025 It looks like the English are going the way of the anglo!

     

    To be fair it was an exceptional instrument, I think we'll wait a long time to see one in as fine condition again. I first spotted it a couple of days before this thread started and if I'd had the cash I would have gone for the buy it now at a mere £2,450. Fairly average ebony ended Aeola tenor/trebles cost that kind of money.

  9. I'm sorry if this has been discussed before but if it has I can't find it. Whilst there is a great deal of info available about Wheatstones there seems to be relatively little about the various models of Lachenel, the price list descriptions are of little help. So is this a pic of an Excelsior? Does anyone have pictures of other models (other than the obvious Edeophone)?

     

    post-3860-1192048276_thumb.jpg

  10. I'm in the same situation and have also considered to get a new bellows from David Leese.

    The price is particularly attractive : 105 pounds for a kit (160 if fitted), while

    all other solutions I have came across are significantly more expensive.

     

    I'm wondering if there is an explanation for this.

    Is it due to different construction methods ? Is there a difference in quality ?

    More generally, is there a valuable reason one should pay twice that price for a bellows ?

     

    David

     

    David, you might like to consider David Leese's other option and pay £130 pounds for the kit with separate cards, these are far more like the traditional construction. I'm sure that these bellows offer really good value for money but perhaps they won't last as long as other bellows - maybe only 60 years instead of 80! The card used in the set I bought wasn't the acid free museum or mat board used in Tedrow bellows and is possibly a little thinner, for that reason I suspect they may have a somewhat shorter life.

     

    I would match the quality of the bellows to that of the concertina and what you expect from it, also of course the amount of money you are prepared to pay right now. If you're an advanced player with a really nice high end concertina with worn out bellows then I'd probably go for a traditional set of bellows fitted by a respected maker. If you have an average but playable instrument I think David's bellows kit would serve you very well but I'd still spend the other £25 on the better set. If you don't fancy doing the job yourself the fitted price is still not out of the way. Hope this helps ...

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