wes

Thanks for your input, Wally. I read that link when it was posted back when. I had a bit of an epiphany when I looked closer at the reed pan of this instrument. I've had it apart many times for this and that and the way the edges are beveled, it always looked like a 3 ply board....but it's not, its solid beech? sycamore? Anyway I feel foolish about it. As to the tone again, it's very loud a bit sharp on the ears. In fact at a workshop I had one fellow ask me with a pained face to please not play it around him. It is in perfect tune. I have a wonderful Crabb/Jeffries, a high end Jones and two very nice Lachenals to compare it to also. I've played it fairly regularly for 13 years and it's a slight bit better than when I got it new. I think. I've always wondered if it's the steel or maybe the dense foam used instead of chamois seal. (Have thought to replace that with chamois). On the plus side its fast and light great for pipe tunes. Should I just sell it or persevere...

In your personal experience, Wally, do any of the instruments made with ply reedpans develop any character that one would get with solid wood? Or do they remain a bit shall we say "soulless"? And if by some great luck they do improve, just how many years of playing would do that? 10? 20?

Good questions. I have used the wool felt sold at joanns fabrics. It's not the felt sold in small sheets and colors, it's real wool felt sold by the yard. It seemed perfect. Very compact and even. I've used foam sheets too and that works, but it may contribute to pad slap sound. Maybe someone can answer your other questions.

Huh. Obviously I posted the next day that it wasnt me playing on each clip, so why the picking about? "But but you didn't do it like we wanted". Doubt if I'll ever post anything here again.

I first heard this tune played by Mary Macnamara on YouTube as she sat by the piano in her music studio. She didnt give a name for it. Richard does a beautiful job of it.

This video clip and the prior one on this miniature lachenal are played by a member of this forum, and done very well imo. I didnt ask him for permission to post them, but they are so well played that I couldnt resist.

Ken, I just see 2 different posting now. I think I did double post one of them. Thanks.

So if one has a high end modern instrument with the 'harsh timbre' due most likely to laminated sound and action boards that Paul referred to in the previous post, is there any way to improve the sound? If one has played it for 12 years with only minor improvement in sound should a person just sell at a loss or keep hoping someday it will get better? It also wouldnt feel good to sell online to another player and have them experience the same lack of inspiration.

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.

Whosoever dare touch these reeds with a file shall be committing a mortal sin. Wonderful playing, btw.

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.

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!

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.

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.

It should be required viewing for anyone with even the slightest interest in the instrument. Although the humor attempt is lost on me.

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

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.

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.

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/

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.

Beautifully played, on a lovely instrument. Thanks, Richard.

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.