Theo

Melnet uses SMF, but the big hurdle for c.net would be migrating the existing forum across from Invision. It might be easy, but it might not! The functionality of SMF is different from Invision in some ways, but it does have add-ons available which add other features, but are of variable quality. Such is the nature of open source software. We pay for our own hosting and have now found a host who gives us a very high standard of support. My co-admin is an IT professional which is also a big help. Donations from members who use our Buy and Sell forum comfortably covers hosting costs, but there is a much larger market for buying and selling melodeons than for concertinas, so this would not necessarily work for c.net.

I sincerely hope you can make the adverts less intrusive. I’ve just been offered free browsing of pictures of an adult dating site. I would be very sorry if this became a regular feature of concertina.net. I’m an admin on melodeon.net and we’ve never needed to consider advertising. Members donations amply cover hosting costs, and we use a public domain forum script.

Bone, identified by the longitudinal pores that are visible as tiny dark dots on the ends of the buttons.

Try a scratch and sniff test. Rosewood gets its name from the rose-like smell from a fresh surface.

I don’t know if you are in the business of selling instruments Ceemonster, but I am and I don’t recognise the picture you paint. Top quality instruments still sell well.

Be patient. Your price is very good for a buyer, but that doesn't mean it will sell quickly. The number of possible customers who have the funds available is quite small. It's not like selling baked beans. With a top quality instrument like this you have to be in for the long game.

Thanks Chris. I think the concertina in question was a family heirloom, so she may not be known as a player. Worth asking though.

That’s why I use low viscosity superglue. Just apply a couple of drops to the crack and it immediately travels the full length and width of the crack by capillarity. Quick and effective and little or no excess to clean up.

Thanks Andrew, that’s very helpful.

Thanks Jake, I've already tried all the obvious places like Facebook. No replay to any messages.

I've managed to loose touch with a customer! I've done some work on a concertina belonging to Trish Luckhurst from Wiltshire, possibly Swindon, or possibly Trowbridge. Does anyone know of this person. I'm not getting any response by email. Please contact me off-line if you have any clues.

My usual approach to very fine cracks like this is to use superglue/cyanoacrylate because of its ability to reach the full extent of the crack by capillary attraction. Precautions to take: Remove any pads that lie over the crack. If the wood has moved up or down on either side of the crack forming a step then you must arrange some clamping that will bring the edges back into line before applying any adhesive. I start with the least viscous grade of superglue, if any wider parts of the crack are not completely filled then you can add a little of a more viscous grade. Wipe away any surplus immediately. Leave it to cure for longer than the instructions say. To be on the safe side I usually leave it a few hours before attempting reassembly.

c.Nr.No is a reference number for the pitch of each reed tongue. It goes up in sequence by one for each semitone. Italian makers have a similar system, but it it starts from a different pitch, so don't mix them! # is Harmonikas' reference number for a particular size of reed plate. For example #7 is 43.5mm x 16mm x 3.5mm

As the person who sold the box to Roger I think I should put in my point of view. This is probably the original case for the concertina, though it’s impossible to be certain. I really really like the box exactly as it is. It has character and it wears its scars well. You can tell at a glance that it has been around for a long while just quietly getting in with its job of protecting the concertina. If it were mine I would keep it as it is. If you refinish it it will just look nice and shiny and all the character will have gone for ever. On the other hand if you want a case that gives the concertina better protection if it is being caried around outside the home then there is no doubt that a good new hard case would be much more secure.

I would be quite confident that other parts of the two instruments are also made of different materials. I have played a couple of John Connor instruments that use vintage Lachenal reeds and neither sounded the least bit like Lachenal’s. Every part of the instrument, with the possible exception of the straps can influence the sound. A simple test that might be possible is to switch a couple of reeds between your two instruments and see what the sound is like.