Henrik Müller

... "under the wood", you mean? /Henrik

I did - well, you have to. We aren't talking about to pieces of polished, hardened tool steel, so there must be some way of creating a seal. Unless you lock them in wax, like you see in accordions. /Henrik

Thanks for posting this, Taka. I knew that there was something special about the Edgley action and always wondered what. /Henrik

You are right - when it comes to rolling, it goes to the top of the (melodeon)class I know what you mean by "element of sadness". But Sweden is so large (=long) that the mood of tunes vary a lot between the different landscapes. You will find a lot of the minor-stuff in Dalarna, north-west of Stockholm, far from where Gusten and I live - basically the distance from London to Glasgow, to put a scale to it. Maybe minor keys are associated with geographical isolation - gets you down, you know... But here, in the deep South, tunes tend to be brighter and happier (vicinity to Denmark? Banging my own drum now ) /Henrik

Anything you recognise? Early 80s, I would guess. /Henrik

She is in Wigton, Cumbria at the moment /Henrik

Whoa! One them Texas thaings! /Henrik

This is no laughing matter - a coping saw works fine. No matter what tool, we can't get away from changing of the blade from one section to the next and I am sure that process is easier with the hand tool. I am still using the coping saw I got when I was 6 or 7. I thought it had disappeared when I needed it for my fretwork and I bought a new. I don't know where it was made (I won't mention the 'C'-word) but it has gone to the scrapyard now, after I found the old one. Things aren't what they used to be... 'cheap' seems to be one of the main driving forces today and the adverts might just as well say: "It doesn't work - but it is cheap..." /Henrik

I bought it in Ennnis in November - lovely, lovely stuff. Cool, relaxed, laidback and sweet - fiddleplaying at this speed is a (rare) delight - so many tunes are hammered to death by high speed. /Henrik

It's humour and completely trustworthy. /Henrik

I realised that he is playing Master Crowley's in Dmin and that I only play a few tunes 'there' (no black keys). But it turned out to be a holiday on the English. As usual I made a short and small file: /Henrik

Lovely, lovely - I look forward to the next! /Henrik

Hello, Michael - A very interesting offer, thank you! I have put it on my mind. /Henrik

The person behind the bar - works fine. She a pro and doesn't mind - but I can't count either . /Henrik

I recall the first time I met Jürgen and revealed the source of the metal caps on my buttons - his response was :"Haha - we have the same supplier!" /Henrik

Anybody remember the great, British, classical guitarist, Julian Bream? Surprisingly, he made the most amazing (guitar) faces. /Henrik

Perspex - I just happened to remember that it was in Shay Fogarty's Mrs. Crotty '04 report. It may belong to Mark Davies, for all I know - we can ask him /Henrik

...It reminds me of the plastic reedpan in a concertina I saw somewhere on this forum. Oh, yes. I forgot, in the last post. You are thinking of this one. /Henrik

Well, yeah - I did take a long, hard look at Geoff's winder. And wood? At heart, I am metal man, when it comes to precision stuff, but I didn't have the patience and time and funds to get someone to do it and I did send a loving thought to this /Henrik

...About multi layers, it may be okay for 2 layers like Henrick suggest. Ply wood is stronger than plain wood, it is the reason that it is used for the tuning bar in modern pianos. For a reed pan the reed slots needs a perfect fit for the reeds. This is difficult with cheap multi ply wood ... Yep - that's why I am thinking 2 layers could make is resonably warp-free, without interfering with the reed frame slots. I learned my lesson with plywood /Henrik

...Now I know what Tommy Williams' "Spring Time in Battersea" was really about. ... Peter, If am afraid that that one is a registered Jim Lucas-joke /Henrik Thought you would get that one, Henrik. Tommy Williams, the great Maccann Duet player, is best known for "Spring Time in Battersea", which was a "party piece". He worked for Lachenal; see link below: http://www.concertina.com/wayne/Wayne-Tomm...parts-1-2-3.pdf Regards, Peter. Oh, I do get it, Peter - I know the tune, I have the record (still trying to decipher what Tommy says), I am just saying that Jim Lucas beat you to it: he introduced the joke at the Scandinavian Squeeze-in some years ago when we were in spring-talking... /Henrik

I am no expert, but I have a good feeling about maple - put a file to it and it feels almost like hard plastic. I would also dare to make a sandwich of two layers at 90 degrees (breaking a rule here?). I guess the goal is to get it as stable and dense as possible - with a bit of acoustic background, I am no romantic when it comes to sound and exotic woods /Henrik

...off cleanly without clattering into the buttons rounds about. Perhaps my fingers are just TOO FAT! ... - or the EC layout is spaced too narrowly /Henrik

...Now I know what Tommy Williams' "Spring Time in Battersea" was really about. ... Peter, If am afraid that that one is a registered Jim Lucas-joke /Henrik

Ah, yes - the big question. But I recall that I recently found one supplier - the catalogue/site is in my Mac at work and I am now very motivated to go back next week and find it - /Henrik