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Everything posted by Ken_Coles

  1. Bill Geiger and I have both been too busy this year to put something together, but we'll start thinking ahead for the next one (and everything inbetween). Ken
  2. I think that was Wendy in Massachusetts, but others (David Barnert ?) would know. Ken
  3. I'm tempted to speculat that might be one of many badge names for instruments made in China - someone here may know better and can correct me. The quality of those factory instruments varies a lot and you can likely do better. Where are you located? Someone nearby may be able to help you choose an instrument or show you some examples. Ken
  4. Folks, please stay on topic as in the original post rather than hashing out other debates. Thank you. Ken
  5. Ken Sweeney (northeast US) also does amazing irish music on EC. Another person who IMO was doing very well at it was Ed Delaney (Indiana, US) but I hear he is playing Anglo lately. Many great examples. Ken
  6. One way to sort of get the buttons farther away is to raise your hands on taller handles. I do it by cutting up inexpensive pipe insulation. (An article from the static version of concertina.net two decades ago). It's cheap and quick to try and see if it helps with any fingerings. Good look with your impressively ambitious work! Ken
  7. Topic moved to Construction and Repairs forum - thanks Bill. Ken
  8. Are you looking for someone to do repairs, or do you wish to sell? If the latter, I will move this topic to the Buy and Sell forum, where it will get more attention. Ken
  9. In the case of anglo concertinas, some of the notes are necessarily under your palms and they sound different to me than the ones that don't have my hands in the way. Ken
  10. Policing a thread to ensure it contains only posted recordings and nothing requires a significant effort from your administrators. The only "administrative precaution" I can come up with is for Paul and me to moderate and approve every single post in that thread after an unknown and variable delay. My guess is some people will avoid such a process and start their own thread, as they are welcome to do. Another approach any one member could curate themselves (feel free!) would be to follow the model of the "Current makes of concertina" thread: Edit current links to each recording into the first post and let everyone add posts to the thread as they wish. That is how a community like this tends to function - people read/hear something and immediately think of, and want to post, a response. We're happy to have them do so. Ken
  11. So sorry to hear this. When I visited Australia in 2006, Chris G. arranged for me to visit Richard up in the Blue Mountains - a spectacular setting. It was a great experience and his knowledge of the instrument was fascinating. My impression is that he was a bridge from the old days to the modern era of the concertina in Australia. Ken
  12. There is another thread on this very topic here. Good luck. The upgrade option is a good one; and "riding a bicycle before you get your first car" isn't all bad. While a 20-vintage may limit what you can play, a Rochelle or Wren will too, in another way. I didn't find missing a few notes on my Italian 20b the first two years was a handicap; there were plenty of other things to master anyway. And while you can't do every melody, you can do partial chords (D, A, B, etc.) on a C/G 20b - I have songs I still accompany that way, and that was good early training for me also. Ken
  13. To all, The way to promote gentler language is to quit posting in this thread and instead open a new one (with a nicer title) if there are things worthy of discussion. Ken
  14. Years ago, in some other thread here IIRC, someone called our current era (since approx. the 1990s) a "silver age" where the original golden age was late 19th century up to the 1920s (when we had Wheatstone, Crabb, Jeffries, and yes, Lachenal). Ken
  15. Why not write directly to Dana at Kensington? He'll know better than anyone how to treat/retreat the bellows he made on your instrument. I know he'd be happy to do it. Ken
  16. Perhaps she can report her experience to us here at some point (using your account or one of her own). As an admin I can tell you one of the things I get to do is remind some of our adult members that we have children on this forum also, and we aim to keep it family-appropriate. Regards, Ken
  17. Aha, this is from the fiddle-and-music scene in northern Vermont, which I hear is pretty strong. I've thought about spending some time there once I retire (not long now)....Thanks. Ken
  18. Dont repost...let me move it. Saves server space. Ken
  19. One way to practice "fingering" without an instrument, at least for anglo and English systems, are the apps for Apple iPads by Michael Eskin (listed under Appcordions on the App store; he also has apps for button accordions and uilleann pipes). They are worth a look and very inexpensive. Ken
  20. It's amazing, the variety of problems folks help solve around here. Ken
  21. And playable (just about) on 30-key C/G anglo. The only part I have to finesse is the inverted F chord (middle C-F-A), either by dropping the C or un-inverting the chord to F-A-C. Maybe Bill Geiger and I should play this together. Ken
  22. To add to Paul Hardy's reply... A 30-button C/G has buttons for Bb in three different octaves. (at least, mine do) The two named keys are just "home keys" and are in some ways a very distracting way to specify the instrument. People play C/G concertinas in D, A, F and so on all the time. I have a tune worked up on mine in Bb minor (5 flats). It is just a matter (for me) of practicing the scale and learning where the notes are without thinking. C/G does mean it's an anglo. So does "Jeffries" or "Wheatstone" or "Lachenal" (the most common layouts of the third row and other notes around the periphery). A baritone C/G anglo (or a baritone English system) are indeed an octave lower - great fun if specialized in utility for some. Edeophone and Aeola were trademarked names for top models at Lachenal and Wheatstone, respectively (you can still order an Aeola from Steve Dickinson). Edeos had 12 sides and Aeolas have 8 rather than the common 6 sides. They can be English, anglo, or duet system. Crane refers to a duet system. James is (IIRC) a maker of anglo concertinas. While Chris's page is quaint, it does address many of these questions. Looking at makers' pages (for example, Wakker concertinas at http://www.wakker-concertinas.com/) can also give you an idea of what they look like, along with dealers (try Barleycorn https://concertina.co.uk/ for lots of pictures. What are they good for? I won't touch that debate (and remind my colleagues to keep it friendly!). Another point where I hold with Chris Timson is to discount any assertion that any style/genre requires a certain kind of concertina. Every kind of music has been played on every system by somebody, somewhere. It is a bit like guitars - imagine explaining flat-top/arch-top/resonator/Hawaiian/electric without pictures or actual examples to look at, or why different guitar tunings are used in different kinds of musical traditions - takes a bit of learning to get it sorted in one's mind. Or as we say, welcome to the madness. Ken
  23. I suggest a look at the Concertina FAQ (faq being a search term that has become uncommon), where Chris Timson maintains some basic answers to such questions. Ken
  24. David is right on every point. Ken Sweeney plays Irish so well on English system concertina you can't tell it isn't an anglo. It is worth pointing out, however, that if having instruction in playing Irish style is desirable (from a book, or from a teacher in the US), virtually all instruction that I know of is for anglo system. That may be a consideration for you. Ken
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