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Everything posted by seanc

  1. This is 1000% true. my rule with acoustic instruments, guitars, has always been to have somebody else play it. and me listen. there have been too many times to count that I thought I had found “the one”. And then after asking somebody else to play it was completely underwhelmed. The area between your body and the instrument gives an immense bass boost to the player. it acts as a resonating chamber. And with clothes and skin that really sucks up highs and let’s this lows through. Especially playing seated. my assumption is that this is the same with a concertina.
  2. I will try that…but the low lows just seem to have substantially more volume. I have to think that I am not an isolated case. do the duet players out there tend to try to keep the lowest notes really short as a practical work around? Holding and releasing is definitely a skill I have not come close to getting a handle on. I definitely tend to have that lazy piano player left hand syndrome.
  3. To all the duet people out there. A practical question… What is the best way to try to balance the volume? I am finding that the lows come through much stronger than the highs. when playing a chord on the left. It really overwhelms the melody on the right. Should I be trying to play more Stacatto on the left to get the melody to come through better? is it just that I am getting more lows and they are actually projecting where I am not hearing it? I am not sure if baffles are the right thing here as I am finding myself running out of melody on the right and needing to continue on the left quite a bit.
  4. I would love to see something like this. I have to think that if they did a modular build then no reason you could not do any number of buttons. You could just clip in the button plate via some sort of snap connector and the buttons would all have corresponding midi note assignment. The only limitation would be the size of the shell. this would be a great way to experiment with different systems at presumably low cost. I also think this would be an awesome way to work up custom builds. Example, I would love to see a crane go below the c to a g.. but does it work? Or possibly bring the top end of a Hayden down a 4th, etc. it could allow for a lot of experimentation and new accepted standards. also, as it is midi. On an English, it would be very easy to fool around different tuning. Equal, just, commas, etc. I’d love to try an English where an A# and a Bb was different, but “in tune”. Or possibly have access to middle eastern Bb and B half flats, etc..
  5. I have not played the clover. but the Morse are top notch. I would also keep looking, there are hybrids out there in your budget that will come up. I’d look out for an ac Norman I had one and it was on par with anything else I ever tried. Fast bright, loud and amazing workmanship. But I traded it as I am focusing on English anD duet.
  6. Are we going to open up the equal temper vs just temper, , mean tone can of worms here?
  7. I am NOT an accordion player. I did work in a music store that was owned by an old school Italian family. The owner was an accordion player and had grown up in the 60s when accordion ( as mentioned above) were actually cool. it was always supply and demand. I had no idea what I was looking at as far as brands at the time or quality. And had little to no interest. But, he would buy just about every one that would come in for Pennies. And say this is a $5000.00 accordion. I bought it for $75. Because I grew up with that family. there was just no interest and no perceived value. And unfortunately, not many sales. But we had rooms full of accordions. around here, Mass/ RI. You still see a lot in pawn shops for next to nothing. this was pre internet. And before the shared embarrassment support groups that accordions now have.
  8. Without being able to try both… my feelings are. Wheatstone is probably a bit better (for action). But to me, extended treble adds size and weight and not a lot of practical use. paragon, the one I tried, was a great instrument. Action was good, but not as good as most of the wheatstones I have played. Sound was rounded/ softer/ more reedy. And quieter than a wood Wheatstone. my vote would probably be the paragon. But, it is a tough call.
  9. the result in this kind of situation tends to be that some , many, or ALL are going to “turn up” to drown you out. the message in one away or another is the same. If you can’t hear yourself don’t play. this is their way of “politely” telling you that.
  10. As an add on to the above. A good experiment and reality check. take a song that you know, Really know. now get a recording of it. Put on headphones. Turn it up loud enough that you can not hear yourself. and now, play along with it and record yourself. And then listen back. remember. This is what you sound like in a session. Or, when you can not hear yourself on a song that you Really Know.. it is almost always better to play no notes, than the wrong notes.
  11. I have been in this kind of situation many times. Not w/ concertina. I do one of a few things. 1. if I am not 100% confident in my playing. I stop playing. If they ask. I tell them. I can’t hear myself. So, I’d rather not just play a bunch of wrong notes. More often than not at least one other will say the same thing and stop playing. And more often than not. The person playing the most wrong notes tends to be the loudest person drowning out everybody else. 2 if I am confident in my playing.. I will continue to play. But either as the loudest offender to “come down a bit”. Or, ask somebody else, near the loudest person to turn up. if in an amplified situation. And somebody is chronically too loud (always the guitar player). I ask the sound man to continually turn UP the guitar in their monitors. They will get to the point where even they realize they are too loud and turn down. This has been 100% effective and the best solution.
  12. I think the clinical term for this is “Da Nile”.. you are well on your way to Officer, office holder status in the club.
  13. I would hazard a guess as to “concertina acquisition syndrome”.. it is a pretty common affliction among the members here..
  14. The above link takes you to the current listing, and the contact email is in there. from my going back and forth him. I get the feeling he’d prefer to deal with people direct over email than to set up a “store” and deal with answering tons of question from people that have no intention of buying. My understanding is that he is not a broker or dealer. He is guy that is trying to sell these off for the previous owner’s widow. I may be way off here. But, that was my take on it. if you are in mass, he is in scotia NY. @ 2 hr drive. He was very open to having people come and check out in person.
  15. I got spell corrected the Cornell collection is in Scotia, NY. rebi is located in RI or Watertown iirc.. she had mostly English.
  16. I would suggest you try rebi-la-volpe also on fb there is a listing for duets for sale estate of David Cornell. They are in upstate by.
  17. I realize this may be borderline heresy.. but, if the focus is classical. Would an English or Duet maybe be a better long term fit? not at all saying it can not be done on an Anglo. But, having a fully chromatic instrument, relatively agnostic regarding key and not having to plan out a note on a push /pull be a little better fit?
  18. I pulled out an pushed back in both reeds. The pull slid right in. The upper (push) kind of “popped” in. I guess I live with it until the weather changes. It is still cold here. See what happens once things warm up a bit.
  19. Update.. I did open it up. Push the reeds out and push them back in. no resistance, very easily done. I would say that the problem is still there. But, and this may be wishful thinking, it seems less than it was. Looking at the reeds while they were out, I did not see anything that looked wrong, obstructed or off. any other thoughts? Richard was pretty local to me. So now knowing the process, I may try this as a thing to do.
  20. You are correct. The link I hit only took me to a single board. I think it is an interesting concept. But needs a ways to go (imo) before I’d call it a midi concertina. Imo, you really need a bellows component to make it into a midi concertina. I would say the same thing about a midi sax controller if it was lacking the wind/ breath element. Bellows action and bellows control (to me) is the expressiveness heart of the instrument. I would love to see a modular design. Of a bellows base with all of the electronic guts and cable outs. Where you could easily swap out ends and systems. A standardized size to allow for many options. Or possibly have a small and large base. For the absolute schizophrenic you could do a crane left and a Hayden right. Or a swap a 37 English for a 55b etc. I think something like this could have a lot of appeal. As the standardized base common to the platform helps with scale and multiple ends lends itself to expansion and add on options. Then you could also have a standard end as well as an optional “higher end” version with all of the after touch, velocity or bend options. Or maybe lit up buttons? Who knows. If it was an open source, people could make and offer different ends, fretwork, button options, etc.. Walker ends, Crabb ends, etc.
  21. that is pretty cool. And while the layout is Hayden. I think it falls short of calling it a concertina. You’d really need 2 to as a left and right to give some of the ergos. And possibly add some sort of push pull mechanism to provide some sort of dynamics or motion control. definitely on the right track and cool. But, I’d say short of a midi concertina.
  22. Unless there is a huge uptick in interest. It is likely that we will be dealing with any “innovations” being making them cheaper and still decent, concertina connection and other lower end hybrids. And subbing in other materials in place of wood in the midrange. I could easily see midi controller concertinas. And that could easily drive a lot of innovation. But without the economy of scale as far as volumes of production I don’t see that as viable. couple that with the reality that these are acoustic instruments in terms of where they are played and the genre they are deployed in. I don’t see enough demand from people to “go electric”, or go midi as they need a “Hammond” or moog sound to make them commercially viable. if all of a sudden a Lady Gaga, Garth Brooks or Snoop Dogg starts recording and touring with a midi concertina player, it’s not likely to get a lot of traction.
  23. having never done this… is there anything I need to know here? Is it just a matter of a little pressure to push out and a little pressure to reseat?
  24. Had not considered the valid musical applications of the chain saw.. but if Phish can do it with a vacuum I suppose anything is possible..
  25. Guitar in the us and eu.. and possibly everywhere in the world… is probably the easiest to get. In terms of places to buy, options and getting a reasonably playable instruments and spares (strings) at lots of places and cheap prices. Even a friends brother’s cousin’s boyfriend that stopped playing and wants something you have…like a chain saw… so probably the easiest obtainable instrument.. And the resources for learning, teacher availability, books, you tube, your 13 year old algebra class friend that DOES take lessons. Etc. the guitar fits into just about every genre of music. So it’s not pigeon holed into a “you’re gonna play jazz/ classical/ country/ Klezmer?” Conversations. It has pretty much been in just about every genere of popular music as a main instrument probably back to @ 1930s with the swing/ big band era forward. And much farther back for many other types. and anybody that can strum “Smoke on the water” considers themself a guitar player. To me, anybody that has an interest in music has probably tried a guitar at some point. And I don’t think it is really all that surprising.. if you were to say the median age of people learning the concertina was under 30…well, then I would be very surprised.
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