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Michael Marino

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Everything posted by Michael Marino

  1. For sale as stated in the header is a Stagi English Treble Concertina that my wife plays occasionally. it has been upgraded to having padded goatskin leather thumb straps as she disliked how the Stagi straps tended to cut at her thumbs during any serious amount of play. Bellows are sound and comes with the hard case. as all on this forum know this is a beginners instrument. Price is £400. Reason for sale is we are in the process of moving and reducing house items, she plays three other instruments more often then the Stagi so it gets to go. This link is to pictures of the instrument on my google drive: https://drive.google.com/open?id=1DdIeIgPKCrIYcjNxI4hoaXgCgUhIbcWf Normal donation if sold via the forum
  2. No not imaging it. Well documented fact of metal stress and tuning/shaping of metals. The preceding post are very correct in that. Nothing I can add fro my own experience as they have pointed pretty much all of it out. Michael
  3. My first question is wear are you feeling or noticing the stress or annoyance? From that point we can look at what would be the best fix for the issue. Michael
  4. Alan, I am been extremely busy with life and family so have not even known that the last pages had ben finished. First thanks to all who helped with this. Second I will be down loading the pages tomorrow and having a look at them. The first section was most useful so I don't see why it should not continue to get better as a training tool as well. Take care and have a great day. Michael
  5. Okay folks, Good points all around. I am biased as I have owned (sold due to needing more cutting area and better repeatability) and cutting building a CNC gantry router. Currently I cut parts for Chromatic harmonicas on them and able to get very high level finish and and repeatability. The new one will have a 4th axis (a spindle in line with the X axis) which will allow me to do a lot more 3D cutting which will allow even more precise cutting of combs and other items. Now let's look at expense, to build and use one of these has some very important costs that must be considered. They are the following with a rough range of prices (some of which you can get a very good product at a very reasonable price and some not): 1)CAD software for model creation £75 to £5000+ and add on to that the time needed to learn to use it well which normally can run over 30+ hours of use and study. 2)CAM software to generate the g-code for the machine to use (some 3D printers include their own version of this and you pay for it as well). Add another 30 hrs minimum in learning and study. Cost runs from about £90 for a good 2.5D CAM package to over £7500 for some of the truly professional stuff. 3)The machine(s) which depending on which route you go can run from around £1500 (home built and you have the tools or know some one who will help) to £5000 for a good base line built machine and the cost goes up from there. Oh yeah there is also the learning curve on the machine, which is an on going process. 4)A computer that has as it's only job the control of the machine (does not have to be fancy but 2Gig RAM is wise to have on board) 5)Control software which ranges from £90 to I don't want to know prices. I strongly suggest Mach3 for anyone thinking about this type of technology (3D printer have this built in and you pay for it in the price). 6)Then there is all the bits and bob's that include you end mills, clamps, material for jigs and such That is a never ending cycle of learning and keeping what works and getting rid of what does not. Back to concertina making. With the new machine I will be able to finally cut the face plates and do so with high repeatability (.05mm is what we are shooting for). But that is only part of it as also still need to build the bellows press and get better at skiving the leather for the bellows (though the wife is getting better then me and might just let her do it). While technology does much to make the making of things easier, there the price tag of taking the time to make the model or the machine to do it. Not a problem but must be taken into account. Now IF anyone is interested in building a gantry router or converting a mill or Lather to CNC, please let me know and will help any way that I can. My apologies for the long post but since I work with the technology to make parts already, I thought a good look at the costs might be in ordered and I know I have missed an item or two. Michael
  6. I am planning on going, still need to finalize a few things but looks like a green light so far. I am in Edinburgh if anyone is heading by this way and willing to share space in a vehicle and the cost of fuel. Michael
  7. Alan thanks for your work and the of RAc as this is of interest and now that I have downloaded it will rotate the pages and start looking into it with interest as the wife has been playing a few of the tunes from the first download and the exercises will help both of us and the music will be wonderful to see how it comes along. Once we have things going better will give more feed back. Michael
  8. Just a friendly bump to see how things are going with this. I know all to well how life can get truly busy and complicated with even trying, so as stated just a friendly bump to see and ask. Michael
  9. Again folks thanks for the input and will look into options. I own a small (240x210x45[-tool L], X,Y,Z) gantry router that I use for cutting small items on that I should be able to cut the fret work on. Right now don't have the safety equipment for cutting metal with it set up so that would need either that or out sourcing. Again thanks and will look into laminates other options. Michael
  10. Dave, Currently looking at wood as don't have metal cutting of the type needed for piercing work. Looking at Maple currently. I have access to a wide range and if anyone has any suggestions please fire away. If anyone knows of a resource for doing it in metal I would also be willing to listen as I know that there are those who prefer metal ends. Thanks for the response and questions. Michael
  11. Folks, This is a test cutting of a pattern I am working on for making some concertinas. It has been a slow process as doing this between clients work. Progress is moving and would like comments on the design. Its is rough and needs a bit of cleaning, that I know; just looking for views on the design and balance. Thanks is given to Richard Morse (I miss his insight), Bob Tedrow (Thanks for your support Sir), and Dana Johnson for some insightful input and comments. Well back to the shop and more client work (Super 64X finish tuing and a Seydel Chromatic). Looking forward to responses. Michael
  12. Hello, any news??? Just a bump and a question. Michael
  13. Pain in the forearm can have a huge amount of causes. Playing the concertina can often show up where problems in structure or function are though I don't really consider them a cause. Now first to list my bias' I hold a DC (Doctorate in Chiropractic) was am but exam for the diplomat in sports sciences (an Olympic level certification, that I need to retake some of the classes due to ill health keeping me from finishing the program). I have 8+ yrs of professional practice both general and sports structure. Okay that out of the way, go get it checked out and see if you have some low level problems in the joints or fascia of the forearm/wrist. Personally I would not go to the family GP/MD as they tend not to deal with corrective treatment of neuro-mechanical problems and will either give you tried and true don't do that or here are these pain med's and don't do that and lastly refer you to either the physiotherapist or an orthopedic surgeon. Since you are in the States, look around for a Chiro' or Osteo' that are sports trained (most likely to have training in extremities) and see what they can do for you (you might be surprised). Other than that I can't really help as not being able to physically look at the problem and properly exam limits greatly any valid opinion that can be given. Michael
  14. Wonderful discussion and very fertile ground for thought and experimentation. Good news news is I have found a source that is affordable in small batches of PB102 Bronze which is one of the forms of vocal bronze (referred by some as bell metal bronze, though it is not the only type used for that art/science). Bad news is PB103 or 104 requires orders in the half metric ton minimum unless you buy from a stockist and if they have it and you can count on the price going up by over 100% and still having to buy a rather large volume. have found some wonderful texts dealing with frequency and vibration from the engineering side of things and will move forward there. Mr. Benade is most definitely a place to start. Though he does admit that further research is needed in his writings; the sad part is that it is only in the last 10 yrs that research has really started to take off and there is still large sections that are poorly understood. As both of you gentleman have pointed out so well in this discussion. I know there are going to be a few who look at the fact that I am using Bronze and not brass and say too brittle. Before doing so go look up the properties of PB102 and you might be surprised. Other progress is getting 80% done with cutting out one of the designs I have done for fretwork and realizing that I really don't like the way it sets and that being so have set about reworking sections, which now done waits for me to finish client work to start cutting again. On the reed front have been mapping the shapes and frequencies of accordion reeds and think I have found the type of vocal steel they are using (there is more than one of those as well) and will be able to look at what type of density i will need for the harmonica reeds and who knows I might type putting a tongue in a few of the old empty shoes that I have though finding a way to insure that the clamp will hold after loosened to remove the last bit of broken reed is going to be interesting. Have a Veterans/Remembrance/Armistice Day and take a moment to reflect on what we owe those who gave their lives for our societies, better yet think on how we can make society a little bit better as a tribute to them. Michael J. Marino, DC Sgt USAR Retired
  15. Any news Sir??? I have the music that was post originally, though not as a single unit (don't know if I have the memory available to do that large of a merger). Hope Both you Alan and Will are doing alright and that the weather is better down there than what we are having up here. Again thanks for allowing this music to be posted and opened to the public for use and enjoyment. Michael
  16. Very beautiful indeed. With the A=455 it may have been tuned to A=454 or close thereby as that was a Victorian tuning that saw a good couple decades popular usage and has become what is known as philharmonic standard to my understanding. I hope that you have been able ton enjoy the instrument and that it has brought a good bit of pleasure to others in hearing it played. Michael
  17. Bump any news?? Understanding said person is under a lot of deadlines right now and things most likely will be delayed. Michael
  18. Dana, You are most definitively telling the truth there. So in tuning and shaping reeds both parallel and trapezoidal/elliptic sided, I have learned that you must preserve the curve of the belly of the reed in relation to the tip and root. That gapping while it can change tuning is more important for response and setting the quickness a reed responds to pressure than in tuning (though that does not dismiss the effect there) overall mass must be accounted for in reed shape and thickness as you have pointed out due to the implied rigidity issues. The list gets longer from there and really don't want to go down that list right now. I am currently finishing the tuning on a Suzuki SCT 128 and IF I ever work on another one it will be costly to the person who wants me to do so. Sixteen pairs of reeds tuned to beat and than having to be balanced against one another when there is duplication is a bit nuts, than add in that the duplicated notes are on different length reeds and it really gets fun. On the positive side have finished laying out my own fret work and will be cutting the test panels once the client work is done and hope to be seriously putting time in on the concertinas this week. Besides mapping the reeds. Thanks again Dana the information yo have given is very useful and I am very thankful for it. I miss Richard, though never meet the man, we had some wonderful discussions and was for a bit going to look into cutting reed shoes for him. Michael
  19. Dana, I agree with you in all you wrote. The reason for searching for and boiling down the math for the reed base shape is the building of a foundation to do all the complicated stuff that builds upon it. Which is so long a list with just the chromatic harmonica let alone the concertina to on occasion drive to a fondness for strong drink. My primary interest is building that foundation with which to than build a scaling or in reality a set of scalings with which from there be able to set up a Chromatic that does not suffer so horribly from the piercing bite of the upper octave due to the shape and shortness of the reed. With Chromatic Harmonicas the very thickness of the reed plate and the shape of the reed channel have effect (as they do in concertinas but to a different extent). So really the formula is a set of starting blocks with which to build from there. I am making progress on this though and the reverse engineering is making sense and hopefully will bear fruit from real world testing (cause it the boat don't float what use is it). I tend to flavor Tesla's view on research and how one should look at thinking. “The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite insane.” and the second is: “Today's scientists have substituted mathematics for experiments, and they wander off through equation after equation, and eventually build a structure which has no relation to reality.” So I work with the math to set a foundation upon which reality will impose itself and make the math bend as needed. Michael
  20. Alan, I like both pieces though I have heard something almost the same of the first piece just have to place the when and where. Now the question is where is some sheet music of this wonderful stuff?? Michael
  21. Nudge, Any word??? Just asking, as that is the only way to find out. Michael
  22. Okay, confused as the original name for the Anglo was the German-Anglo. Than sometime around WWI it got shortened from what I understand? If I am wrong please enlighten me. Also that area is a very traditional free reed instrument center that is rebuilding but has seen better days. Weltmeister is now making harmonicas again which they have not that for years and there is talk of more types of instruments coming out of that region. We will have to see. Michael
  23. Yes semi wild and in many places illegal to catch either by any means and a good source of meat, down, and quills they are indeed. There is very little on a goose that needs go to waste. Michael
  24. Thanks for the quick response all and twist away. He has a nice web site by the way and if you and he are looking for another place to store it on the web let me know as our site is going through a reworking. Michael
  25. any news on the Book? Sorry but it dropped off without knowing where to find the rest of the book and it is a wonderful collection of music. Michael
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