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Everything posted by blatherskite

  1. I’m selling my 48 button Lachenal English concertina. It was restored by Greg Jowaisis, Covington, KY, USA, in 2018. I have attached a copy of the repair order. I asked on this site about the serial number and it seems that the number is 34122 which would date it around 1897. It includes an apparently old case, but I’m not certain if it’s the original. It is not sturdy enough to my liking so I have usually transported it in a Pelican Storm case. It’s a really nice instrument, but with many 130 year old instruments, there are quirks. The high C, which is in the range I rarely play, only sounds in one direction. It's probably just a fuzzball or something. This should be easy to address. To be clear, everything was perfect when I got it back from Greg, and I would recommend his work to anyone. He knows his stuff. The low notes sound great, but they take just a tad more push to make them speak. As long as you know that it’s pretty trivial to compensate. I think these are minor issues and the play-ability over the common range of notes is spot on. I hesitate to ship outside the US. Buyer will have 5 days to evaluate. Buyer pays shipping. I’ll double box and pad it well. I’ll accept the best offer I get after 5 days. delaney.ed@gmail.com Photos Audio sample 2018 Final Repair invoice for Ed Delaney.pdf
  2. Thanks a million, that time frame makes a lot more sense to me!
  3. Hi All, I'm trying to date my Lachenal and Co English concertina. I'm having a little difficulty with the serial number, which appears to be 84122. I didn't know the English serial numbers went this high. Here are some pertinent photos. I tried to zoom in on the number stamped on the R reed pan. Many thanks! Ed
  4. Hi, I own a 48 key Lachenal for which I would love to have a manufacturing date. It's English, 48 key, ME flat metal ends, steel reeds, MB metal buttons, 5 fold bellows which appear to be original. The number 24122 stamped into the wood frame on both the left and right side, as well as on the reed pan . The badge is missing. Thanks! Ed
  5. Thanks for the offer! I need to wait till after my friend returns from the Fleadh in Ireland as I promised her first look. She already has a nice concertina, and being a starving student probably doesn't have the fundage to purchase a second box. I'll update here as soon as I find out what she thinks. ed
  6. Thanks, I"ll post some more pictures soon. Ed
  7. I have to concertina mentioned in the photo in hand. It's owned by Lloyd LePlant from Minnesota. It's a renowned mandolin maker in his 90's now, and one of the nicest people you would ever meet. His mandolins are famous. I'm trying to help him out because my brother went up to see him, purchased a mandolin from Lloyd, and introduced him to me because I new more than he did about concertinas. He purchased this some time ago, knowing nothing about it. As mentioned before, I play English, not Anglo. He had it restored in 1999 and then never touched it, because everyone up north plays Chemnitzer concertinas and he didn't really know much about them. I can't yet get a read on the tuning, as one of the pins that holds a lever popped out of the wooden hole so that one stays on all the time. That makes it difficult for me to hear any other notes. It appears someone as at least once tried to re-glue that, but I"m hesitant to try since I don't actually own it. update: I was able to get it working and it appears to be close to a normal Wheatstone C/G, with only a few odd notes. The Linota reeds appear to be steel and sound is pretty loud. The buttons are not rivited to the arms, but the felt and pads are all like new. Lloyd is just interested in finding someone who will play it, to get a fair price, and to be fair to whoever gets it. I cannot say enough about the man, he's a fine gentleman, and I told him I would put the word out on the concertina streets and let him know what I find out. His wife just died last week, and he lost a brother, a son, and cousin in November, and with all that, will talk your ear off about music and anything else. He was so excited when I told him that Bill Crossland found the ledger sheet for it. I would be interested if anyone could help me figure out how to value this, even in a ballpark sense. He's coy about what he paid for it, but he put $800 into the restoration, which seems about right considering how much was done. I went out on a limb and told him that I was pretty sure I could get him what he has in it, and maybe more, but I just don't know.
  8. Yeah, I've never been able to get the session moved off of Tuesday. It's too bad, I'd like to get to the Ace now and then as well. Let me know when you're in town next, I'll see if I can skip down there, I'd like to see those folks as well. If I happen to acquire this concertina I'll let you take it for a drive. ed BTW, I'd make fun of your attempt to learn the pipes, but then you'd just make fun of me attempting to learn the B/C box ?
  9. Bill, Thanks for the image of the ledger page. That's amazing! Ed
  10. Hi Ken! I'm doing well, how about you? I"m still playing English. Still in Indiana. I found and had restored a Lachenal that appears to be dated 1860's and it's now in great shape. Really enjoying it. My brother actually located this Anglo and not knowing anything, asked me. I have to wait to see what my tax situation is and start major buttering up of my 'financial advisor', but I just think this might be a gem that should be the hands of someone who could actually play it. I've tried to learn to play anglo, but between the English concertina and my B/C accordion, my spare brain cells are pretty well occupied. What's up with you? Ed
  11. Hi All, I may have an opportunity to purchase this concertina, but I'm an English concertina player so I don't really know my way around Anglos. I assume it's a Linota because it's stamped on the palm rests. SN appears to date it to the early 1920's. I have not had it in my hands and this is the only photo I could get. It was restored not too many years ago by the Button Box. The person selling it does not play at all, so I can't really ask them too many questions. But from this picture, can anyone guess how many buttons total are on it? Are there the same number on both sides (except for the air valve?) Is there anything short of getting it in my hands that might give me a clue about what key(s) this plays? What's the risk that it might not be in standard tuning? Asking because I may purchase it sight unseen and am trying to gauge risk. thanks for any clues you might have. ed
  12. Hi, After much thought, I've decided to sell my Morse Albion. I have played this almost daily for nearly 10 years, so it's as close to my 'daily driver' car as a concertina can get. It's in great shape, I can't say enough about it. You will not be disappointed. Asking $2,100 obo. Pictures here Ed Delaney delaney.ed@gmail.com Indiana, USA
  13. Thanks guys, I'll check with Grey and see if he's got leads. Cheers ed
  14. I play with the Indianapolis Ceili Band, and once again we're heading to the Midwest Fleadh to compete in the senior ceili band competition. In years past I've alternately taken my Irish B/C accordion or my Morse English concertina. I've found that the tunes we're playing are just too difficult and fast for me on the accordion. Since the concertina is my native instrument, I've decided to take it this year. (So far no one has noticed or cared that it's not an Anglo :-) I can play it at speed much more comfortably. However, a ceili band needs to be loud, and the concertina is just not loud enough to hold it's own over the drums, piano, fiddles, flutes and banjo.They also would frown on me bringing a portable amplifier :-) In the past I've had a late model Wheatstone and an older Lachenal, both of which sounded really good, but were not as loud as the Morse. That's part of the reason I got the Morse. Does anyone have a good quality English concertina you consider to be particularly voiciferous that you would loan/rent to me? The competition is in Mid May. I'll pay shipping/insurance/rent, even let you keep my Morse as hostage. It needs to be accurately in tune and in performance condition. I know it's a long shot, but if there is anyone out there that might entertain the idea, I'd much appreciate it. I'll even give you a cut of the winnings if we come home victorious, which would mean you could possibly get a check from me in the sum of, oh $0 or so.... thanks! Ed
  15. A group of local musicians here in Indianapolis, Indiana, USA are starting to organize a festival for later in 2015. If you or anyone you know is in the area and interested in helping organize, perform, teach or participate in any other way, I would love to make contact with you. You can follow us at on the facebook at https://www.facebook.com/groups/accordionindy/ or email directly at delaney<dot>ed<at>gmail.com Share and Enjoy!
  16. Sorry I've been away from the forum so long, but I'm really glad folks were happy to see Boris' music that I posted. Listening to the recording by RatFace made me think: I can neither read this music easily nor play it easily. In fact it's torture for me, because I really need to hear first. So, would there be any interest out there amongst all y'all who can play, of making recordings of you playing one or more of these? I could only offer to collate, perhaps edit, and distribute by some means, the final collection. I think I'm better on the computer end of things than on the squeezing end. Randy Stein, what do you think? Since you studied with him way back, would you have any thoughts? Has this been done already by someone? Ed
  17. My ever so patient spouse calls it my 'Constant Screamer'
  18. Pardon the long winded reply, but the thread just made me realize that without actually trying, we're doing an interesting experiment in Indianapolis that others might be interested in. I'm from the same area as Ken originally, and have found overall similar relaxed attitudes about the music, mostly. Now we have the best (or worst) of both worlds, depending on your viewpoint, a learning session and a real trad session. I think both are awesome. It just sort of happened this way. I don't tell anyone that my session is "traditional". It's more like 'a session where we try to learn Irish music, mostly'. We have many folks who started late in life, a surprising number of classically trained musicians from local orchestras, and a mix of trad and non-trad instruments. I don't care what instruments show up at the session, or if folks bring music. I just explain that if they get used to this, they have to understand they can't just show up at any session and be welcomed. I do provide a printed collection of common tunes, which I encourage people to learn on their own. As the "Mayor of Tune Town", I pick and choose which session etiquette rules to enforce, and then I invent my own: No noodling between tunes, whoever starts the tune sets the tempo, music is ok, trying something new that you are not 100% sure of is ok, playing a tune from earlier in the session is ok, having fun is ok, polkas are ok, singing is ok, 5-string banjos are ok, remember to tip the bartender, if anyone is out of tune they get to call for a pause in the proceedings to get tuned again, everyone gets a turn to call a tune or set for the first half of the session, then it's a free-for-all. The other session in town is much more trad, much more focused with musicians that have been playing much much longer. For all the talk about session rules I really have to say that I do understand what they are trying to promote/preserve. I have been to sessions that were completely mind blowing experiences, and you don't get that without some focus. So what happens here is that we get the beginners, who for the most part eventually learn to lose the sheet music and listen better. We now occasionally sound completely awesome, hammered dulcimers and double bass included. Eventually some of the better players 'graduate' to the other session, which is fine. Makes me feel like the idea is working. Different members have spawned at least 3 other performing groups. So rather than beating newbies with the rule book, I let them figure out on their own how little the music book is really going to help them, and why that is. Why 5 bodhrans may not be a good idea, and why you don't want to trust my crummy musical notation skills... regards ed
  19. I've used a Microvox for years, and it has worked fine for me with a few caveats. Big plus on portability, definitely better than 1 normal mic, highly recommend the customer support folks, sound isn't as spectacular as a regular mic, but it's absolutely good enough. About 10 years ago I sent it back because something had come loose and they totally rebuilt it for free. Unbelievable. I recommend them. Not being a hardware guy, there are times when the soundman can't get much volume out of it, even when I have it turned up. I sent it back to the Microvox folks (who are excellent by the way), and they tested it and certified it ok. So I went and got myself a little mini tube amp which I go through on the way to the sound board, and that seems to help, but now I'm dealing with a hum that some sounds guys can fix and some cannot. The other thing is that I absolutely must remember to tell the sound guy to turn down my channel all the way if I plan on turning the microvox on or off. If I don't, I treat everyone within earshot to a sound akin to a lightning bolt striking next to your head. Unfortunately if there is any stray noise or oddness in the sound system, all eyes immediately turn to the concertina player. The absolute best sound I've ever heard come out of my concertina (currently a Morse English), was when I was seated in front of 2 high quality condenser mics on a T shaped stand so they were positioned perfectly on either side, and the sound guy used a compressor. There was little mechanical noise, and the fact that every note spoke equally (volume-wise) was a real treat. I'd never heard it sound so good, it was really exciting to hear. I'm not sure even when you're not mic'd that there is not some variation in volume caused by where your hands are, but boy, a compressor is the next thing I'm going to buy. ed
  20. Hi, I'm just north of Indy (Noblesville). Contact me directly and I'll see if I can help. I play English concertina and button accordion and may be able to get you connected. Ed delaney<dot>ed<at>gmail.com
  21. Hi there. Some time ago I had the same thought about the tapes, a neat treasure that should not be lost. I contacted many of the musicians who submitted material for the tapes and with general approval got the ok to share the tapes in digital form. The International Concertina Association is kindly hosting them at their ICA Sound Archives The magazines themselves are another treasure and I think you should find some interest in them. Cheers, ed
  22. Hey, Welcome to Indiana! I live just north of Indy, so here are some additional bits of info. You'd find all this out soon enough but anyhow. Bloomington is great, for reasons others have said. (The Dali Lama's brother used to teach there, and started a wonderful Tibetan Buddhist center) Years ago I tried to start a Morris side in Richmond, and invited some folks from B-town to help us out, not sure if they still are dancing, but there is some Morris history there. Besides the Old-Time scene and the Irish session there, there are 2 and soon possibly a third Irish session in Indy, which is only a bit over an hour away. Bloomington musicians regularly make the trek. You're really going to like it there, Hoosiers are really friendly people. Let me know when you get settled, I think the number of button accordion players in the state can probably be counted on your fingers. Ed
  23. As a long time English concertina player I have never had time nor opportunity to explore any type of anglo concertina up close. Since I do play Irish B/C accordion I figured I would take the opportunity when it arose. Well, a friend loaned me an old beater Bastari he said was a D/G. I'm looking at all the fingering charts I can find online, and this is a little odd. While most of the main buttons match up, there are some extras. Can someone tell me what this is? Left Right in B E G# E Eb C# | Bb G# E Eb G# C G out C F Bb D F G# | G# Bb D F Bb E A in G D G B D F | C G B D G B out D F# A C E G# | D F# A C E F# in F# A D F# A C | F D F# A D F# out G* C# E G B Eb | Eb C# E G B C# in G! | A C# out G! | E B * Yes, that's a G on the out of the near lower left button (seems the Wheatstone layouts say it should be an A) ! and a G on both directions of the near upper left button. Thanks for any clue, ed - A clueless English Concertina player
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