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wes

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Everything posted by wes

  1. Wondering if it is truly in that key. On my program, its 36 or cents above A440 and so I tend to say it's in an old tuning (and very good) and may very well be a C/G instrument. Hopefully some input from the seller on this.
  2. Whosoever dare touch these reeds with a file shall be committing a mortal sin. Wonderful playing, btw.
  3. The ends may be German silver, but what I've seen is they are sheet metal, tin? The outer surface has a nickel coating. If this is the case, if a jeweler heats the cracks enough to melt the new silver solder properly, it could discolor the nickel coating around the repair. This could explain the low temp lead solder repair. You could do as suggested and carefully work the outer solder down flush providing there is a good amount under the crack, but this will make the repaired area weaker.
  4. I think Frank got part of the problem with the folds being too shallow. I measured 1/8th less depth than older bellows on 3 other instruments. The material used for the valley hinges or gluing that hinge cloth without the individual cards being completely flat or just gluing them too tight. I know because I've done the same on my first sets. Ah well, I'll struggle on, thank you all. Sliante!
  5. Being a bit lazy by nature, I purchased a bellows for a quite nice 20b lach fine fretwork from an Ebay seller by way of co Kerry instead of spending the time to make them myself. They looked well made, robust as I have on a Crabb angle, not the more delicate looking bellows that a good lach usually has. I do think that the robust bellows is more suited to brash Anglo dance style. Anyway, I've been fighting these bellows ever since install without progress. The other eve I played for about 15 minutes under my favorite bridge and my hands and forearms were in pain. I've put them in a compression device for weeks, treated them brutally as an excersise spring between the knees with air button full on and nothing helps. What kind of glue was used here?? Regrets for sure, but am hoping someone has an idea to bring this stubborn bellows into compliance as it affects the instrument response greatly.
  6. Bidding ended at only 300$. Guess I should figure out/ask about the shipping process. Years ago on ebay I got the same model for around 1100$ and considered that the going price.
  7. It should be required viewing for anyone with even the slightest interest in the instrument. Although the humor attempt is lost on me.
  8. First off, I want to say thanks so much for the great advice from the likes of you. If any of you had the instrument in your hands for a moment, you would spot the problem, of that I am sure. The advice on how essential the seal is did the trick. Upon opening the left side, I laid my straight edge over the partitions and found a slight raised area in the approximate center, more pronounced in the area of low volume reeds. (During the refurb, I had replaced the bellows skirt chamois, but not the partitions, as they seemed in good health). Then the straightedge on the action pan. Obviously warped. So now the disassembled action pans sit for a week or so clamped (after a bit of moistening), and then I'm faced with the very fiddly bit of another full adjustment of the action. Here's the humorous part. The last concertina I refurbished was the same model, and had the same problem, and I did the same thing. Regulated the action after felting the buttons, mind you, and then having to do it all over again, when it dawned on me that the pans were warped!!!!! (It's from the 1870s) Regarding Dana's input, I have never considered that bit about wood to wood, and usually go right for cardstock shim, but now I'll think on it. When I've worked on string instruments, connection areas seems to be critical for sound optimization. Again, thank you all very much. Wesley
  9. I've just refurbished a high quality lachenal and no matter my efforts, the outer key rows are significantly lower in volume output than the inside. Some time ago, I rebuilt another one that is exactly the same in appearance that is very balanced. These are the fine fretwork rosewood type, 20 button. I've swapped the valves out for lighter ones on those rows, but no real effect. The obvious is that the outer key rows lift the pads under the hands, and so dampen the sound, but this is not born out in other instruments I have that employ the radial reed pan design. Any ideas solutions welcome.
  10. It seems right to use close to original materials. I now prefer the wool felt in between the card and leather. Here in the states, Joann's fabrics carries it. Cool beer coasters are ok for card stock if you wanna make a statement.
  11. I never forget my first exposure to concertina, and the guy that played it had a shruti box. He played me a tune on his breathy old full of holes lachenal backed by that shruti. Magic. So I'm looking for informed opinions on what key I should purchase one in, for the usual c/g box irish scottish style of music. This site has some quality looking ones to choose from. http://www.buyraagini.com/mks-special-concert-shruti-large-box-natural-color-with-bag-fbb/
  12. I'm in complete agreement with Richard. I have a Carroll also, in c/g. It has improved substantially across all of its range over the last ten years of being played. Sure, there are signs of it being used, but how many of you would turn down a vintage instrument that has improved over many years of frequent use? I personally think that my Carroll is worth more now than when I purchased it new.
  13. Beautifully played, on a lovely instrument. Thanks, Richard.
  14. Good on you! I have the same model, and I believe I like it's sound over the crabb, a carroll, and a lachenal I have. So keep at it, it's not an easy instrument to become adept at.
  15. Have to add.. I took piano lessons when young like many, and enjoyed it, reading and memorizing classical pieces. Yes, it's difficult, but oh how I wish it would have been an anglo concertina!! I would rate the difficulty of anglo well played, as difficult or more than high level piano playing. I've took up old time banjo now, and it has improved my concertina playing. You can't bend those notes, but it's the rhythm. If little children dance when you play...So, I would echo, falling in love, like minds, determination, does the instrument fit your personality. Find the rhythm, express yourself! And...a good instrument costs too #! $^√ómuch:(
  16. To be part of this discussion, this community; feels a privilege. Very thoughtful replies. Something always strange happens when you pick up a jones or lachenal from 170 years ago, the smell of ancient air, all the other places and hands, playing "along the row", spaces and levers between the notes. Thank you all.
  17. I have 2 very nice vintage 20 button anglo tinas and keep wondering why early manufacturers made them. The 30b wouldn't be a problem to purchase instead if one could afford a high end 20b. I should add, that I find myself playing the 20b more often than my 2 very nice 30b tinas.
  18. WondEring how to access the eBay link for the Jones. High interest.

  19. i hear the Jones make have broad reeds and shorter in scale, hence the air problem. stiffer reeds take more air to sound. i have a 20b and it is a little harder to play, but not that bad and has a great unique old sound. your problem is most likely the set of the reed, being to high. it also could be a gap too wide or the valve, but i would check the set first.
  20. A work of art to be sure. looking forward to the clip. Questions: did you make the leather embossing tool, or was it made for you, and is it a roller, or flat stamp?
  21. Not sure where you all are in your approach to the instrument, but maybe some of you have had a go at Bertram Levy's instructions, and by the by, he has a new booklet out these many years later. I just want to send you in another slightly different direction by suggesting a look listen to Cormac Begley playing "ships a sailing" followed by another version called "Jackson's reel", and to finish off the set, Dunmore lasses. It doesn't get more "piraty". You can find it on his bandcamp site, on the cd "tunes from the church", track 10. It's pitched about 20cents flat. The banjo player is beyond good.
  22. appears your interest is duplicating an accordion style in a smaller instrument. the anglo concertina is not an accordion. it only shares some commonalities. explore other styles of concertinas or small button accordions. chemnitzer comes to mind, do a utube look see.
  23. It's all to your own personal liking as whether the tune is legato or bouncing. If you really like legato, you have the wrong instrument for that style. Anglo was designed for the dance rhythm of folk music...or so I've heard. As you develope, you should explore the empty spaces between the notes. Some of the older Irish style players "along the row" are masters at this. Some are younger. Listen to Cormac Begley. There's a few of him on the innertube. His cd is superb. Pick a style you like and work on it. It's a wonderful journey.
  24. My vote is for bamboo, as if I'm correct, it's used for the reed in woodwinds. Now just work on those university researchers. But, if experienced minds here aren't wrong, reed material, at least in the world of steel metallurgy, plays little to no part in sound quality. Now a piece of bamboo....
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