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david fabre

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Everything posted by david fabre

  1. Hello ! Thanks for asking news. Alas not much more to say on this one. I showed it to Emmanuel Pariselle, the french expert on concertinas, and he said me "good luck" for the renovation. He said that tuning such beasts is a mess ! I'm still considering to start the work with the valves but no time right now. If you want so share photos of yours, I'd be happy to see them !
  2. Happy Concertina day to all and thanks for sharing all this great music ! To celebrate the date I recorded this song (from french singer Barbara) on my Lachenal Bb/F. Hope you enjoy ! The posting is also in memory of my mother who loved this song, and who would have been 74 on this february 6. https://www.youtube.com/watch?v=xRDx5bAPLb8
  3. Hello, Audacity does the job. It also allows to transpose to a different key and many other things. And it is free !
  4. Hi again (and best wishes !) So my christmas present arrived.... Here are a few more photos of the inside of the "bandonion". The condition of the instrument is not that bad : the bellows are airtight, all buttons are operational, all notes are working (except for a few reeds which don't respond), and it seems well tuned to 440. It has zinc plates (my brother who is working in chemical analyses confirmed this). A few pearl incrustations are missing, apart from this the outside appearance is not that bad considering the presumed age. I think changing the leather valves, cleaning the reeds and a little cosmetic care could turn it into a decently playable instrument. I'm not sure if I will keep it or resell it (the layout is still a nightmare to me). Help for identification of the maker, date and valuation is still appreciated ! As far as I could understand, the name "bandonion" is associated to old instruments made by the Band company (from the family of the inventor Heinrich Band).
  5. Hello Luke and all, My christmas present has been an old "Bandonion" with 52 buttons (104 voices). I wanted to have a try at the bandoneon because the layout has always been a puzzle to me and I wanted to see if I could understand it... after several hours it remains a puzzle ! I'm not sure if I'll keep it or resell it, but meanwhile I transcribed the layout. Here it is ! https://anglopiano.com/?_90_dBhGiEDLch_150_jiYZtxuwWW._60_AdGHIijkLcfA_150_JjmMntouvv._30_BeegHIJjklgJ_150_lkrPMlONpoSq._50_eCklmNOKFf_160_LLknNmPOqpTsVU._530_KKRRqQsrUTwVQS&title=Bandonion 104 voices
  6. I'll tell you soon ... just ordered it as my christmas present, and should receive it next week. Best wishes !
  7. Thank you Stephen ! Thus most parts of my instrument are at least 125 years. The bellows is new, I don't know who built it. Not Rosalie Dipper as i don't see her stamp. I'll ask Emmanuel next time I see him. Best wishes ! David
  8. Hello again ! A few months ago I asked for help in dating my Lachenal Bb/F which is apparently made with parts of at least 3 instruments. Remember ? it was here : While reopening it for a little fix, I saw a serial number which I did not see at first inspection, on the LHS reed pan. I guess I read "158 484" or possibly "258 484". What does that imply ? In last june Stephen's verdict was 1877 for the frames and the ends, and likely later for reed pans. Does that confirm ? Thanks !
  9. Hello to the experts on this forum ! I'm in contact with the owner of an interesting "Bandonion" with 52 buttons (22 on the left, 30 on the right). it is hence a "104 voice" which apparently is not that common. Has anyone any clues about the maker (I guess it's not AA), the age, and the value ? Thanks !
  10. ... and here is the Carlsfelder, another relative of the bandoneon and Chemnitzer. https://anglopiano.com/?_30_dcAdGHIijkLK.DCBeegHIJjklhf_160_JjlsRnMlONpoSqtx._30_CEfhlFmNOPMMKL_160_LkkMNmPOqpTrVsmU._640_ntQPrQsRUTwuvvoV&title=Carlsfelder For both my source has been here. http://www.korbo.com/piedcrow/diagramindex.htm I have a few doubts about the numbering of the octaves. Maybe some experts on this forum will be able to check.
  11. Hello Luke, To add to the list of "non-anglo" layouts, I just transcribed the Chemnitzer ! https://anglopiano.com/?_90_dBbGiEDLfh._60_AdGHIijkLc9A._30_BeegHIJjklhfgF_150_LjoRlMMlONpoSqRuuw._60_8CklmNIKFJcD_160_jLmkknNmPOqpTrVstUXx._600_JiQRrPnQsKUTwVvvWt&title=Chemnitzer
  12. This video is also to demonstrate the possibilities of my "modified Wheatsone layout" . See there (thanks to Luke for his wonderful app) https://anglopiano.com/?_40_CceFgIkjKL_60_mmqpQRsTon._20_AddfGHIijk_100_MlONpoSqUr.feHJjklMNO_140_pPrqTSvUVt&title=David Fabre's GD 30 Here I use a lot the modified notes of my layout, especially pull B3 (left), pull A5 (right), push C#6 (right). This tune would not be possible on a standard Wheatstone layout ! See also there (with some explanations)
  13. Just recorded this pop hit from the eighties. On my Edgley 30b G/D, with a few variations. Hope you enjoy !
  14. Nice to see the list increasing ! Especially interested to see the miniatures. Takayugi, I see your choices for the Norman are different from mine but make sense ; indeed I remember Andrew said he made a dozen of these (probably more now) and each of them had a different layout. Do you have a picture or a sound file of the picolo Jones ? I'd be curious to see/hear it.
  15. Many thanks, Luke ! I think this is extremely useful, and I hope the list will keep on increasing as you collect more layouts (or as users transcribe their own ones since it is extremely easy to do so with your app) I think it is also a good idea to point to the "source" where the various layouts have been already discussed, in order to keep this thread as a readable database.
  16. Thanks Luke ! I’m looking forward to see more layouts. Seems we share the same obsession BTW, have you collected a “standard layout” for Lachenal 32 button ? I have one of these (the Bb/f) but I asked for layout modifications when I purchased it (and Emanuel Pariselle was happy to do them). So I don’t even know what were initially the notes on the two extra buttons …
  17. And yes, I would love to see the other custom layouts you collected, and it is certainly time to start a new thread ! If you want to make a database with custom layouts, you are welcome to include mine. Some suggestions for you app : - When visualising chords it may be useful to use a different color for the root note (and possibly the 5th degree). - One could include richer chords : 9, 7sus4, 7b5, etc... (but of course the list is endless so it may be just as fine to stick to your "short list") - I also wanted to suggest you to expand chords in full range, but I found this is already possible, by unclicking "Match octave".
  18. G/D : one mistake corrected https://anglopiano.com/?_40_CceFgIkjKL_60_mmqpQRsTon._20_AddfGHIijk_100_MlONpoSqUr.feHJjklMNO_140_pPrqTSvUVt&title=David Fabre's GD 30 Mini Norman : one mistake as well https://anglopiano.com/?_30_IG_320_Qs_60_Vu.dHHIjklMNO_80_pPrqTSvUmo&title=Norman Mini D 13 Bb/F 32b is OK.
  19. Hello Luke Thanks for transcribing, I really really like your app ! For the Levitina, there were little errors on the first and last buttons of the inner row, RHS. I corrected directly on the app : https://anglopiano.com/?_100_eFHhJkNMmn_90_rQPPTSstVvxX._20_fdcGGIijkLMNnm_70_RsoOqpSRuTwU.giIHjlMNOopqLK_110_tWSrUTvuYwQn&title=Levitina CG 37 (NB the true range is not two octaves lower : actually I have two sets of reeds, one at the noted range and one at the lower octave). With the app one can see directly a weakness of the layout : the range is limited to G6 and misses the upper notes. As I explained on the other thread, based on my experience on the 40b I though I would not need these upper notes, which was an error. On the other hand, the lower octave is almost complete and only misses the C# and D#. I'll check the other layouts and tell you...
  20. ... and to complete the collection, I have just transcribed the layout of my last toy : a miniature 13b Norman ! It is a one-row in D with three extra buttons. There are also modifications in the main row, both to have allow minimal chords and "double-stops" (hence the low B, and A, which are the only bidirectional notes), and to give a few accidentals to allow playing in adjacent keys to Dmajor. This one I use mainly for irish session. people always find it cool and surprisingly loud ! NormanMiniD_Layout.pdf
  21. Here is my 32b Bb/F Lachenal LachenalBbF_layout_Modified.pdf LachenalBbF_layout_Modified_transposedCG.pdf
  22. Concerning my other instruments, Here is a recent thread where I explained the layouts of both my "Levitina" 37b baritone C/G and my Edgley 30b G/D. Feel free to put them in your app, I will be very happy to play them virtually !
  23. Hi Luke Thanks for your feedback ! you app is fascinating ! and a great idea to share ideas about layouts. My layout is correctly transcribed, except for one point : the note on the pull on button 16 (in my numbering) is not D but D#... the one which you were puzzled to lose. It's not lost but displaced to a location where i find it convenient for the few tunes where I need it. I'm sure the fingering would also be practical for the jewish tunes you are playing ! About my own playing : well, initially I played mostly Irish session tunes. Then I have explored traditional music from all around the world (I'm currently part of a band with a repertoire including african songs, madagascarian, marrocan, spanish, occitan and much more). I'm also playing a number of pop songs, both french and international. And very recently having a try at bossa nova ! About the bidirectional notes. I have kept the C/C "drone" on the LHS because I like it, and use it for instance in a few bourrées from central France. I like the hurdy-gurdy-ish sound. As for the c#/c#, I made this modification when I was playing mostly Irish music, in which this note is a difficulty. I made this modification myself, as it was a simple swich bewteen the pull d# and c# on adjacent buttons. I could have reversed it but meanwhile I also made similar modifications to my other instruments, so I'm keeping it. Finally, regarding the d#/d#, this is also a result of a modification I did myself. I wanted a push d# here. After swapping the reeds I had in my instrument, the only one which entered in the slot corresponding to pull on the same button was also a d#... which i almost don't use because of redundancy. If I was living close to Colin Dipper I would ask him to file a little bit the reed to raise to e, but I don't want to do this myself. Other modifications I did were also limited by similar constraints : I had some more radical ideas but dit not want to alter too much a vintage instrument. For instance, the modification of the upper d' and d'# was also a simple switch of reeds of the same size. More to come...
  24. Hello ! You might be interested to have a look at the layout of my 40b Wheatstone. During the renovation (by C. Dipper) I asked for a number of layout modifications, including a few within the core 30b. The most notable are the replacement of all pull D#'s by notes which I find more useful at their location (the D#'s being displaced elsewhere). Among the extra or nonstandard notes, the one I use the most are precisely those replacing the D#s. In order of usefulness : 1/ the pull E on the left (button 33 in my diagram). I really cannot understand why this note is NOT in the standard 40b layout. I use it constantly when playing in chord style ! And I find extremely handy to have this note in the location of the much less useful D#. (I displaced this D# at the top of the inner row button 16, replacing a pull G# ; the latter being displaced to the RHS). 2/ the upper-octave pull d' (button 64). It is also very handy to have this note here, opposed to a push c#', and much more practical than the remote button 66 where Wheatstone initially put the pull d' (and where I displaced my d#'). 3/ c# on the "first" button of the RHS third row (button 61). This leads to a bidirectional c#. I know this modification is also favored by a number of players in the Irish style. To answer your question "which notes could I do without". Well... on the LHS I have found utility to all notes and would not want to lose any ! Especially I would definitely keep my pull E in its current place, even if I had less buttons. I actually have other instruments with less buttons (a G/D 30b, a Bb/F 32b and a baritone C/G "Levitina" 37b) and have done the same modifications for this button (i can send the layouts if you are interested). On the RHS there are more notes which I could (or can) do without. First, I almost never use the very higher notes a', b', c'' . on a C/G with less buttons I would not hesitate to replace them by more useful notes (on a lower instrument such as G/D or baritone, on the other hand i would keep them). The other notes I can do without are the extra G,A,e,d duplicating those on the LHS. I've seen there has been some discussion about these notes... My personal opinion about them has evolved over the years. When starting to learn I initially regarded them as useful, for a better separation of hands (I expected to play melody mostly on the RHS and chords on LHS). Then, my beloved Wheatstone was sent for renovation to Dipper for almost one year. Meanwhile I acquired a 30b, and realized that all I wanted to do could perfectly be done without those duplications. So I eventually asked to retune these notes to other choices (among them the pull Bb on 01 and the bidirectional d# on 02 turn out to be the most useful). I hope this is helpful ! Wheatstone_layout.pdf
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