paperpunchr

Interesting stuff for bellows papers? handmade specialty patterns. I've got no business relationships with these folks, caveat emptor, but they look interesting. decorative papers

Care to share your tips on how you revoiced the reeds to speak clearly and quickly again? I've got an old concertina and an old flutina that need similar attention. It would be a big help to me...right now re-voicing reeds seems like a technology that approaches magic, as far as I'm concerned. And if you want to use masonite, I'd try the "tempered" variety, especially if you live in a place with "normal humidity"....it's more moisture resistant and slower to turn back into the sawdust from whence it came. Depending on thickness you could use one of several types of plywood or solid wood...what was the original, and did it shrink and crack? Doug

Details and the issue of dating: It appears to be tuned in the key of G (and there's a capital G deeply stamped into the wood of the reedpan as well as several pencil-written small "g's" around the interior), and the A standard pitch is about 450hz according to my tuning meters. I've seen others advertised that were keyed in A. There are small felt or cork pads on the underside of the MOP key fingerpads so they don't scratch the wood...there are two under each large key and one under each small key. I've found no makers marks, stamps, etc., other than a few pencil-written letters and scattered one- to three-digit numbers inside that appear to be intended to help keep matching parts together on the workbench. The keyboard end drone bars have some type of decorative head on them...dragon, bird, or snake head, not quite sure which, and what could be considered a stylized rattlesnake tail (maybe I've been in Colorado too long!) on the opposite end. I'll try to post a clear photo tonight. All the metal appears to be either nickel plated or silver plated brass...I took it for plain brass on the ebay photos. The breather valve handle is kind of an abstract assemblage of circles and part-circles, and the rest of the left hand metal fittings are very plain and simple It came in a roughly contemporary (the wood shows a lot of age) plain fitted wooden case with a hinged lid, lined with green woven fabric that reminds me of a billiard table covering (except for a hundred years worth of small moth-holes), and instead of the usual keyed lock or hook and eye, this one has a latch like a scaled down shipboard-type cabinet latch made of brass, inset flush with the top of the lid...lift the flush-mounted ring and the bolt withdraws to let the lid open. The concealed hinges were installed in the backboard before the case was finally glued together, and the back edge of the lid was rounded and pivots in a corresponding recessed rounded top edge of the back, with the concealed hinges at either end...not a cheap way to build a case. I'll try and post a few photos, tonight but the ebay photos are still available for a while longer, at the link in the first posting. Anyone out there have any idea of the maker's name or approximate timeframe based on this info?

It's here! I’m delighted with the accordion, it’s in very sound condition, and certainly easily restorable within my skill and experience level…it’s amazingly complete…even the tiny mother of pearl key that was missing from the keyboard? It was inside the reed box, either having fallen in through one of the ports (possible but not likely) or having been put inside by a former owner who didn’t have time or inclination to fix it but didn’t want it lost. There’s a few small bellows leaks, which I fully expected, and which could not be seen unless you open the instrument and hold the bellows up to sunlight, or put a bright bulb inside the bellows and dim the room…again, nothing I can’t fix… Thankfully no one ever tried to patch it up with cellophane tape or electrician’s tape, and it will be easy to overlay the hinge leather without having to remove and cleanup after botched patchwork repairs. The pearl is in excellent shape throughout, not a crack or chip that I can see…hardly looks played. The reeds are all brass, which tells me it wasn’t reworked in England and converted to steel reeds as a lot of them were. They’re barely even tarnished, just enough to show they’ve never been touched since new. All but one reed on the keyboard sound, and that’s no worry, a tiny splinter is enough to jam a reed, and it’s easily removed. The paper covering on the bellows looked strange in the ebay photos…silvery...and it looks even stranger in person…like leftover Christmas wrap, though I suppose it would have been very flashy, unusual and perhaps expensive, back in the day… ...hey, cellophane wrapping was once a top-end luxury prestige giftwrap used at stores like Tiffany’s in New York…when it first came out! Kept bugs and dust out, showed if it was tampered with, and let you see that the goods inside were undamaged…nothing else would do that back in the pre-plastic days! What may look cheap or tacky to our modern sensibilities might have been the height of fashion back then…still, the bellows look like...dunno...maybe it was made for a whorehouse in New Orleans? I guess I have the same reaction to the MOTS (Mother Of Toilet Seat) hideous pearlesecent plastic finishes they still put on cheap accordions and toy concertinas. I'm torn between keeping the original authentic if ugly papers, and covering them with something more attractive when I overlay the leaking hinges... The stickiness in the keys is most likely due to the wood keyboard slightly shrinking over the past 120 or more years, and/or old wire springs oxidizing or rusting away to nothing…again, nothing I can’t fix. Has anyone removed the keyboard from the faceplate and exposed the pivots and springs? I'll probably have to get in there if it's not too complicated...it unscrews from inside the back of the right faceplate, I just don't want little bits shooting off into the corners of the room when I open it. The right hand bar drones are workable but very stiff, but the left hand bass keys work like a champ....it's comical the way they translate from the direction of button push to the pivot of the brass valve flapper with a Rube Goldberg mechanism in brass. I’ve seen the interior photos of Simon's similar instrument with fuzzy white mold growing inside, and I was delighted to see that’s not the case with this one. In fact, since most homes and businesses were heated with coal or oil and lit with kerosene, oil or gas back when this was new, and smoking was also more common, I’d say it was very seldom played…usually soot accumulates in the chamois that’s used to seal the reed boxes, and the chamois on this was cleaner than my well-used 1886 concertina…In fact there was no visible soot at all inside. A couple of times in my life I’ve been fortunate enough to come into possession of old instruments that were either very little used or very well cared for, to the point of there being almost no wear and tear on the moving parts. This one is certainly in that category. Aside from the bellows hinge leather and the leather on pads/valves, it needs almost nothing but adjustment and cleaning to be fully restored, and I’m looking forward to starting the initial clean-up tonight. I'll take photos as I go. I'll tackle the breather valve first, since the glued pad popped off the brass and it leaks like a sieve, then put some Zephyr leather over the worst bellows leaks inside and out so I can make it play well enough to better see what's up with the reeds, and then the keyboard pads/pallets/ and leather flap vlaves that are visibly leaking. At that point I'll be able to tell if I have any tuning problems with the reeds. I was expecting the worst...cracked wood, popped joints, rot, mouse droppings, woodworm, etc. I guess if I keep buying things on ebay long enough I'm sure to get a bad one... eventually!

Which makes it a Latke. Hmm. Is it kosher to have a latte with a latke? Well, since Latte is a creation of certain Imperialist entity, reaching it's tentacles all over the world, and employing cheap labor in it's never ending lust for more money and power, it's product is drenched in Proletariat's blood and sweat. Untill this Imperialist entity drains the blood out of it's Latte, it is not Kosher. Didn't realise Latte was Russian Dave Orf-Torpic, I know, but I think he's referring to the even-more-evil Starbuckian Empire... I love the taste of their coffee...but not their tactics... For those that haven't seen one yet, they keep opening Starbuxes directly across the street from the locally grown, Mom and Pop coffee shops. They are coming...We cannot get out...

Here's a source or two for pearl blanks to cut up for key covers, and they have round ones as well. Some also sell veneers for marquetry which could be useful for repairs. I've not used any of these sources yet, so caveat emptor. Pearl blanks And another shell blank source... Here's a source on cutting inlays, which would be similar to cutting key covers. A MOP source in New Zealand on ebay... And one in Florida. Doug

I'd recommend this tune to beginner/intermediate anglo players...it's fun to play and helps you work on a steady rhythm, and sounds moderately impressive to yer friends and neighbors...it's called "Sport", and can be heard on the Altan album "Local Ground"...I play it along the row on C/G anglo, which changes the key to C of course, but the rhythm is interesting. It's either a slow jig or a sort of slide. It should be played at a gentle rollicking tempo as Altan do, not at speed....and keep it away from Ceili bands please. Here's the black dots, and there's ABC's available in the same area.

Ah, well now, d'ye know what a planxty is? A tune written to honor your patron, right? Now then, if ye take a planxty, and cut it into six equal parts, and nail them together in a sort of a cube, Why, then you've got a boxty! Doug

Just the thing for a Victorian or Edwardian dollhouse! Cute!

Hi, Ennistraveler, It takes some things that can't be easily taught or even described over the forum, like "taste" and "subtlety", but I find it effective to lightly fill some of the spaces between the end of one vocal musical phrase and the start of the net either with a counter melody or echo the melody, or fill with lightly phrased arpeggios or passing notes/scale segments that fit, ...again, not at full volume, so as not to distract from the vocal line. Curiously, I play along with the church choir every Sunday morning and have used that opportunity to practice and develop my accompanying on both concertina and whistle, and both the choir and the congregation seem to appreciate the added ornamentation...we ordinarily have only a basic chord guitarist and a beginning pianist to provide the chordal foundation for the vocal line, and I try to tastefully fill out part of the vacant musical space.

I think the old naming system of calling the semitone accordion as the "perfect accordion" is really a bit deceptive...obviously the Perfect Accordion is the one with all the reeds tuned below the threshold of human hearing...

Were your reeds fairly well in tune after all these years?

Thanks, Simon, The flickr pages are great...hope when I open mine it's not mildewed as yours was (the dreaded stinky white fuzz) but mine has been in Florida for some time so it may have the same kind of problem. I've been warned when doing other kinds of pearl inlay that you should keep the cutting dust out of your nose and mouth with a tight fitting mask as it can cause lung problems...a good dust mask is supposed to be required...I know this warning is too late for you, but maybe someone else will benefit. I'm missing one finger key, and it's one of the odd small pair on this particular "semitone accordeon" layout. Did you have to replace any of the pads where they seal on the face of the right end? If so what did you use in the way of leather? Same question for the valves inside...any special leather or were you able to uncurl the originals? I thought the antifungal foot spray was a great idea...hope it works...it probably was the best idea since it would distribute a mild antifungal agent without getting water on old water based glues and other things that don't take well to moisture. Couldn't use lysol or anything much stronger without a good chance of damage. Did you clean the reeds in place or remove them? I was under the impression they could be slid out something like concertina reeds, but will have to wait til mine arrives to see for sure. Mine is somewhat different, not as ornately decorated, but has the extra keys as shown on the "perfect accordeon" portion of the chart at Squeezyboy's site It's a good site for flutina/early accordeon info... Here's the main page. Lots of helpful and interesting pictures there. On the old ones I've seen, my impression is that only the thumbstrap sliding on the bar is the original scheme though it seems I've seen at least one with a kind of bracelet that buckles around the wrist attached to a smaller loop that slides on the brass bar, leaving all the fingers and the thumb free for fingering notes and all pulling is done with the wrist strap. Not sure if that's authentic or someone's later inspiration. Anyway, thanks for the help, I'll probably be in touch for more details once mine arrives. Doug

Tried that with mine, or rather the previous owner did...I couldn't hear any difference in volume using the original dull red gauze/paper baffles, The lefthand chords or accompaniment still overwhelmed the right hand melody line for any given bellows pressure within the normal range. A heavier fabric might help, but I understand some makers offered either leather or wood baffles to try to mute or mellow the sound...dissimilar fabrics might make some difference, but the light gauze had no discernible effect on mine. In any case make sure you don't discard the serial number or the maker's labels if they're attached to the old baffles.

Right...some I've seen on the web have a small leather thumbstrap or possibly even a wrist strap...with a smaller loop that slides along on that brass rod so you can pull the keyboard side while you finger the keys. There's a "preceptor" book on the web that indicates it can be played resting on the lap when seated, upright somewhat like a modern accordeon, but unless I"m turned around the fingerings with the right hand run with the bass at the top and the treble at the bottom, and push/pull is the opposite of concertina...you pull to get the dominant notes of the scale and the scheme runs just opposite the concertina. Thanks!

Thanks! I'll let you know. I don't expect it for another week or so. Doug

Fixing up an old concertina wasn't enough...I found an old style pearl keyed "accordeon parfait" or semi-tone accordeon and I'm going to restore it next, and learn to play it. Here's the ebay item: 160134210542 Accordeon Parfait/Semitone accordion I've seen several old threads with very helpful information including how to open the case without destroying it...slides like a pencil box, and I'm told the reeds and reed chambers are similar to concertina design...I guess I'll find out when it gets here. As with early concertinas the pads are all pearl...I assume there's something like a layer of felt and a layer of leather on each to seal the openings? I also gather the two brass bars adjacent to the keyboard each work a chord. Who has played with these before? Doug

If you want dust protection and aren't all that concerned with perfect authenticity, you could cut a piece of nylon mesh from an OLD pair of your wife's or girlfriend's panty hose...ask first, and don't run with scissors, boys and girls!

Yes... originally tried it because I have relatively large hands with long fingers that don't work well all crumpled up...it gives me up to 3/4 inch better lift, and the insulation comes in different thicknesses and even different materials with differing cushioning. The relief on the numbness problem was a happy side effect of the cushioned "lifts"...plus they're removable when it comes time to sell, no permanent alterations required. Hope it helps others! Keep squeezing! Doug

I never realized how hard it is to keep a REALLY steady rhythm til I went into a recording studio for the first time and had a metronome tick in my headset while playing...it greatly improved my accompaniment. So far I've recorded on guitar and pennywhistle...one of these days I'll have to lay down a few concertina tracks and listen to it really critically to see what needs to improve...short of the pressure pf prepping a vocal acapella 5 part harmony number with our then-band, Whiskey Business, to open the Tokyo Celtic Festival, recording has been the biggest incentive to fix and improve things I've found...you know you'll hear the most minor mistakes every time you play the record for the rest of your life...and a prepping for the recording of a live performance even more so.

My problem seemed to be pressure on a nerve in the palm of my right hand, causing numbness in small areas like one part of the tip of my pinky. I posted the following under another topic, Numb Fingertips, in this section: Thanks all, I think I've found something that works for me...it reduces and distributes the pressure on the palms of the hands while playing anglo...There's a tubular foam insulation used to slip onto water pipes...a length of that cut to fit the handrest, and the straps let out to make enough room for my hands...the split foam tubing slips on over the handrests and is kept in place by friction. It's sort of like riding a bike with padded handlebar grips, and it's greatly reduced the problem. Your mileage may vary, but it works for me....though I have to let the straps out all the way to the last hole! Thanks again! Doug

Thanks all, I think I've found something that works for me...it reduces and distributes the pressure on the palms of the hands while playing anglo...There's a tubular foam insulation used to slip onto water pipes...a length of that cut to fit the handrest, and the straps let out to make enough room for my hands...the split foam tubing slips on over the handrests and is kept in place by friction. It's sort of like riding a bike with padded handlebar grips, and it's greatly reduced the problem. Your mileage may vary, but it works for me....though I have to let the straps out all the way to the last hole! Thanks again! Doug

I've played anglo while lying flat on my back for relatively brief periods with success, and it's certainly possible, but semi-reclining might be better...I find the blood has a tendency to drain from my fingertips when playing fully horizontal! I don't know what the possibilities are in your case, but a position something like a reclining chair, or chaise longue might work for you. Others might have differing experience, I find it easier to play the anglo than the English when horizontal simply because the English weighs heavily on my thumbs, one of which is arthritic...your mileage may vary, but the lighter the instrument the better. You might be able to rest it on chest or tummy. Generally there is a way to do something if you're persistent enough...you might also need to adapt the playing style by holding the ends at whatever angle is comfortable rather than trying to keep them relatively parallel. For me also, being able to reach the low notes on the English while lying down is problematic, again because I usually don't use the little finger in the bracket, and am left with less leverage when I want to move to the lower notes closer to the wrist on the English. The straps and handrest on the anglo tend to distribute the weight of the instrument more on the wrist and less on the fingers or thumbs than the corresponding attachment points on the English....for me anyway. My left wrist was broken in a construction fall several years ago, and I was temporarily deprived of being able to play almost everything, because I couldn't elevate, bend, or turn the wrist in its cast, but with a length of surgical tubing I found I could put the pennywhistle down where the hand was and get my right hand down there also, and thereby make at least a joyful noise, if not my best music....looked like a very thin baritone sax. Luckily, the orthopedic surgeon on duty when I went in to the hospital was a guitar player himself and was sympathetic with my desire to play again. It's still a bit crooked, but I gradually got back on guitar, banjo, mando, and everything else, so...persevere, and I hope concertina works for you. You might consider low whistle as well...that can be played largely horizontal if you put a small pillow under each elbow. Just beware of the condensate rolling downhill to the mouthpiece! Best wishes! ...and let us know how it works out for you! Doug

Yea, like a bellows and buttons!? Toshea, if as your membership status might indicate, you are new to the concertina, (like me, I got my first one in May of this year...) you don't need to sleight Mr. Tedrow's product...it's got an excellent reputation and he's one of the more flamboyantly innovative of the current crop of masters...I've been lucky enough to have had my hands on one and compared to both the ebay chinese cheapies ( priced at less than $200) and vintage Lachenal 20b basic student models (Priced at $300 unrestored or $500-650 restored) I've got, it was like a swiss watch compared to a cheap alarm clock. His $1850 basic model needs no options to be worthy of respect in any musical setting, and in this marketplace has proven to be worth the price as far as his customers are concerned.

Good clear pictures that illustrate the physical differences...Thanks!...It took me a while to hear it, but there is also a general difference in sound between most accordion reeds and most old fashioned "screwed to the shoes and sitting in a small box" concertina reeds. In some cases the difference is subtle, and in some case it's apples to oranges different sound. I like each in their own context well enough, and a melodeon with accordion reeds produces a sound in Irish music that doesn't detract, but some apparently have strong dislike for seeing a concertina but hearing the accordion sound coming from it. I'll admit my cheapie chinese sounds more like a french accordeon, especially if I play a french tune on it...it has accordeon reeds mounted en banc but the air openings and pad/arm action are more traditional concertina pattern, though mounted on a couple of common pivot pins that run the length of a rectangular metal rack, rather than individual pivots distributed on a board.