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Everything posted by seanc

  1. I would say.. with an EC. You can play chords, and you can get some really complex chords. Or, you can easily, plug in an EC for anywhere a violin, viola could go. but, depending on the nature of what accompaniment means here. It is really difficult to do both at the same time well. And that is where the duets shine.
  2. All systems have plus and minus. Depending on what you want to do, music wise a duet can be the most versatile. BUT, if you intend to sing along with it. You really need to be aware of what key(s) are needed to support vocals. with the small duets, especially something like an Elise. Due to layout and number of buttons. You may find that it is not adequate to support vocals. The more sharps and flats you need (example singer is most comfortable in Eb or Ab) the more limited you will find them to be. but everything is a trade off. And you just need to take the plunge. It sounds like you have done a ton of research. But there is a point where analysis paralysis hits. It may be that is where you are now. You just need to realize that what ever you buy now, is not likely to be what you’ll be playing down the road. grab something. Practice, learn and with some experience you will be able to make a more informed decision when you trade up.
  3. Not to steer this way off topic… but based on my (admitted) limited experience. I don’t understand the hate for the late period 50-60s Wheatstones. The one I owned and the few I have tried have been really nice.
  4. Why not just take the brass handle you have have and wrap it with leather or paracord? You keep the brass look and give it a little easier carry. As an upside. it is easily undone/ changeable. And very cheap to experiment with to find the right fit.
  5. You should be able to use it.. A lot depends on the size of the case and clearances you have. But, if it were me, I would opt for closed cell foam. it is easy to cut, to a more fitted shape. stack it up in layers and more thickness on top and bottom. More protection in terms a shock, and less particles to get inside of everything.
  6. I have (according to what I have been told) an SA Lachenal Crane. Very well done. very nice and all around a great instrument. I have to assume that in their time, the SA was well respected and looked up to. (in the same way that kids may look at the players today they respect and aspire to emulate their using a brand X instrument). So, as a marketing vehicle, gaining or losing that account might represent a large share of sales beyond just the SA. Also, as these are not mass produced factory made instruments. A high level of QC would have gone into these all along the process. As presumably, holding onto that account may represent several people's livelihoods.
  7. This is purely conjecture. But, from the little I know. The Salvation Army, in their hey day, took the concertina seriously. And they also bought and used a LOT of them. As these were hand made instruments. And the SA would have represented a HUGE single account. I would assume that any maker would take all of the SA made instruments very seriously. While they may not be the most aesthetically ornate. I would assume they were all made as serious, made to be used a lot, made to last instruments. On the SA side. I would think they would have kept pretty close tabs on the instruments. Some of that would be to keep track of duds, repairs, and other issues. And base their awarding of sales to those that held up best at the price point.
  8. I am NOT an Anglo player. So I would listen to suggestions of others far more than mine here.. but.. if that extra button is where a c# would be on a standard 30 button. You’re in good shape. But for me. From a learning, unlearning, muscle memory perspective. It would do far more harm to me to learn a bunch of tunes with that c# in the “wrong” place. Then move to a new box. Where that button was now in The “right” place.
  9. 448 vs 440 is quite a lot. my suggestion would be, assuming you like it. Play the hell out of it and learn as much as you can and don’t worry about tuning. As long as it’s in tune enough with yourself it should be tolerable. assuming you’re making reference to an Irish session. You are going to want/ need a 30 button. As you’re really going to need the accidentals to play (esp in D). on your next one, when you make the leap to a 30 make sure you get one that is 440. retuning yours would likely cost quite a lot and that money would be better spent towards upgrading to a better, in tune, piece. just my opinion.
  10. Drum machine, tick rock, click.. the noise used is not as relevant as using it. But, if you don’t think you need a click.. then just try it with out.. all I can say is that.. ime.. everybody thinks they’re Pavarotti or Beyoncé.. until you put in tune instruments behind them and you listen to the play back. but depending on how seriously the recording is being taken…and the ears of the editing person. Getting it REALLY right on the take saves 100x the time you will spend in retakes, over dubs, and trying to edit out all of the bad notes. from my experience also.. keeping the notes as staccato as possible makes an immense difference during the retake/ over dub and editing.
  11. Another thing to consider. And again, extremely dependent on the actual piece. But if you're using a DAW. You may actually be able to essentially play sections and then piece it all together. If what you are doing has multiple repeated sections. You may easily get away with recording each section, or even parts of sections. Saving those as items. And then piecing those items together into sections and possibly the whole song. Example... if your verse section is D/D/C/G repeated 4 or 6 or 8 times. You may be able to get away with getting one clean pass of D/D/C/G and then pasting it together the required amount of times and saving it as a verse. Then paste your Verse 2 or 4 times as the song requires and repeat that process for Choruses.. You get into a situation where you start to think would you rather playing it? Or would you rather spend time and editing it. if you are doing a tango, it may have sections of extended repeats/ vamps. As a dance can drag out depending on the choreography involved. Dancers/ soloists each get a 4/8/16 bar solo, etc..
  12. What I would do... Click track is 100% necessary. And should be used 100% of the time. IME. there is always going to be that ONE section. where you just don't play it clean enough, and the timing will be off. It is better to keep going and go back and over dub it than to have the whole band get all wonky driving over the cliff to follow the leader and for that one measure and then back on the click. And if ALL of the parts are aiming for the click and NOT whatever the "guide track" is doing. generally, the rhythms will be quite a bit more in time. (this is like when people sing "back up" and they say, I am singing "in tune" with the lead. Well the lead singer is rarely "in tune". Being a "little off" from the lead means that that back up singer is actually More out of tune. What needs to happen is that "back up" singer needs to know they need to sing an "A" and get as close to in tune on that "A" as they can be)... Depending on the complexity of the arrangement. I would probably start with the one thing that holds it all together. And that everything else guides off of. Sometimes that could be the bass line. But many times, you need to have a good amount of movement in a bass line to make it interesting. So, (again depending on the arrangement) the Bass very well may often times be avoiding playing the root on the one. which can be confusing for some people. (I call these people "GUITARISTS") Generally, whatever is playing the "rhythm guitar line" will actually be the thing that everyone is guiding off and is really spelling out the chord changes and placement of those changes. if there is any improv involved, either in the bass or melody and variations. It may be easier to have a more set in stone chord structure to follow. BUT, if you are playing a written piece with the parts cast in stone and written out. Then, IMO, it really does not matter as long as you are able to play consistently in time. As you are using the click and your eyes to keep you on track.
  13. Just a suggestion.. As mentioned concertina.com has a LOT of good info. But, what you might do is download the key maps. and take a good look at them. That may give you a reasonably good feeling for how the different platforms are laid out and work. It does not give you that tactile sensation of how it works, in practice. But, it may help you to at least get a bit familiar. This will be especially true when trying to get a handle on something like a D scale on a C/G anglo. Or a major scale on English or various duets. The BEST suggestion, that I can offer, would be to just figure out what type of music you want to do. Then try to get a feel for the volume of players using what kind of instrument they use. Buy one and then just take the plunge, with the understanding that whatever you buy, it is a starter pick and may turn out to be the wrong one. Once you get a bit of practical experience and have some sort of foundation to start from you can then better judge what you want to do and what gear you will need to get there.
  14. Looking to upgrade from my 55b new model. Plays great. Sounds great. Just hoping for something a bit faster. I have for trade.. wheatstone model 22 wheatstone 57b Chidley maccan lachenal 55b new model crane. all are good players and need nothing.
  15. I have no clue about these. But there are those here that do. I think with your pics and overall information you should be able to get some info back. the little I know is these are not extremely valuable. And not huge collector pieces, but, not knowing. Maybe this one is the one everybody is looking for. I will leave it to those that know about these to add their opinions.
  16. It would probably be helpful to post a few pictures and give an overall of the condition. Do ALL of the notes sounds on the push and pull? are there any buttons/ straps/ screws missing etc. bellows tight/ leak, etc. That will probably give the people that know about these a little more to go on to determine any sort of numbers.
  17. The Aeola is 55 TT and that is definitely a keeper. The possible trade items are a 48b Wheatstone 22. and potentially the 55b Lachenal Crane.
  18. I think I'd be fine with the 55 buttons i have.. Just thinking of something a bit faster. And I agree. Something about the Crane lay out just seems to click with me too.
  19. So, I need a bit of advice. CAS seems to have caught up with me. I am now up to 4. (I know, many of you here will call that, "An anemic start" or "decent for first effort"). Currently have: Wheatstone TT Aeola 55b EC Wheatstone 22 (48b English) Lachenal 55b New model Crane Wheatstone 57b Maccan. I have been focusing on English and Crane. Since I bought the Aeola. I have not touched the 22. The Aeola has been problem free. So, I am seeing less need for a back up. The Crane , is beautiful and sounds great. But it no where near as light, fast responsive and fast as the ECs. The Maccan, I just have not gotten around to fiddling with. Around here Cranes seem to be pretty uncommon. Would the wisdom of the crowd be to just be happy with what I have? Trade the 22 for a Crane? Trade the 22 And New Model for One bigger, better or faster Crane? Thoughts? Suggestions?
  20. It would be a really cool experiment/ exercise to put a midi concertina in the hands of Noel Hill and other's of his caliber to really document, accurately, playing style, note/ button choices and ornamentation. I would expect that many times, a player of his ability is not even consciously aware of all that they are actually doing. When asked to demonstrate or explain (from memory) "what they did there". their explanation may be incomplete or dumbed down somewhat to teach and or demonstrate.
  21. The Norman is gone. But that was also 60+ years newer. And, yes, possibly stainless. But as a contrast.. Here is a pic of the Maccan I picked up recently.. substantially brighter, presumably the same materials/ plating process.
  22. So, like an idiot.. I was looking through the concertina pics porn here. And comparing and contrasting. I noticed that my 22 (metal ended) in comparison to most of the other metal ended is really dull looking. I am not sure if this is good or bad specifically. But, it got me to thinking. Is there a consensus as to bright and shiny is better than the "well worn" look? And as an add on. Is there something that can be used to bring back the shine? Or, is anodizing/ plating the only solution? For reference here is a pic of the 22 next to a (now sold) Norman (reasonably shiny).
  23. I am primarily a bass player. I have nice gear. On many occasions I have played other instruments that, to me, were unplayable. But, often, these players never played above the 5th fret and were perfectly happy with their gear. so, really, it is as much what you do with the instrument as the instrument itself. if all you ever do is play G, D and A chords to accompany your own singing. It really does not matter how fast or in tune your box is in the 2+ octaves above those basic chords. I think, that somebody in this situation really needs to try to expand their range and broaden their abilities. But, if they are a singer that uses an instrument to back up their singing. And not a instrument player the tries to sing on top of their playing. It is all about what works for them.
  24. You might try giving it a few quick hard blasts to see if you might be able to blow out what is caught in there before opening up and doing surgery. but. As already mentioned it is probably some gunk in there that needs to be pulled out. that should be a very easy operation. And one that you should be able to easily do. It may give you a bit of confidence in the world of fiddling around.
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