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Theo

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Everything posted by Theo

  1. Shouldn’t that be dural with a single ‘l’ if we are talking about the aluminium alloy?
  2. Yes, happy to help. Contact me by pm here or email Theo.gibb@gmail.com
  3. It’s sounds very much like a case of internal air leaks, probably because the reed pan supports are failing or are set too low. It’s very very unlikely that a problem with the reeds themselves could affect all the reeds on one side.
  4. Clean the excess polish off the cartouches while the shellac is still soft with a cotton bud dipped in alcohol.
  5. If its new from the maker it would be polite to contact Suttner fits to ask for advice, or if it's from a shop contact the seller.
  6. A friend has a Wheatstone miniature 19 key Duet for sale. Its in excellent original condition, no signs of wear and plays in concert pitch. Serial number is 35309 July 1940, 3 1/2" across flats. Ebony end frames with metal fretwork with turned edges. Potential buyers please send me your email address and I will put you in touch with the seller.
  7. Nobody seems to have mentioned the Lachenal trade mark which is usually stamped into the right side hand bar. All but the earlies Lachenals have the mark.
  8. Shakespeare 38 key Anglo tuned BbF, with nickel ends and buttons, steel reeds, and tuned to concert pitch. Marked internally “Thomas Shakespeare Maker”. Shakespeare was a minor maker who modelled his instruments closely on those of Crabb and Jeffries, though his instruments never reached the level of of performance of the masters. Nevertheless its a very nice concertina and much less money than a Jeffries. Original six fold bellows with new edging, new bellows frame binding and gold tooling new pads fitted in recent years. New valves and full retune June 2019. Comes in a modern hard case. Asking £2950 or near offer
  9. You are welcome here any time. The Metro Centre is still here! And I wish to visit Italy again before too long, Castelfidardo of course.
  10. I agree with what Dave Elliott says about possible leakage through pads. A pad tester is a very simple and very useful device. I made a very simple one from a piece of plastic rod about 18mm in diameter and about 75mm in length, you could also use wood or metal. One end should be flat and smooth with a piece of soft leather glued on the end, and the whole thing has a 5mm hold down the centre. To use it press the padded end over the pad hole from the opposite side. Place you mouth over the free end and blow gently. You should not be able to hear air passing through the pad. Check all pads and adjust them until there is no air leakage.
  11. Don’t assume that it’s a Wheatstone because of the straps. If it’s a Linota you should find that name lightly impressed into the wood that the strap is attached to. If it says Trade Mark English Make then it’s a Lachenal.
  12. Better quality concerto has don’t have steel end bolts.
  13. What is the measurement across the ends between the flats? I have a suspicion that it is smaller than the typical 6 1/4".
  14. Agree with Geoff's comments above, and would add that some valves in use in recent times have been over heavy in the smaller sizes which can cause dulling of the sound. Valve colour has at best an indirect bearing on the issue. Valve leather can come from various sources and colour is not an important property. I've used black in the past, and presently using grey.
  15. It is a Jeffries. I've worked on it.
  16. Worth a look but it has accordion type reeds, not traditional concertina reeds.
  17. Pleased to hear I’m not alone! This method is possibly a little slower than using the traditional concertina bellows where you can file the reed in situ. On the other hand I think that tuning in the reed pan where the reed is in its own home gets the pitch closer to that inside the instrument.
  18. I work on accordions and concertinas. I have a simple tuning bellows with a couple of holes on top where I can place an accordion reed block. When tuning concertinas I place the complete reed pan over the hole and close the side of the reed chamber with a finger. It works well, but I don’t know anyone else who uses that method.
  19. That’s certainly one possibility: the reed tip may be set too high or too low, may be obstructed by dirt, may be off centre in the frame. It could also be valves that are curled and stiff and don’t open and close as easily as they should.
  20. It's hard to offer good advice just from a photo, but I think what I would do would be to remove the smaller piece of wood, then clean off the old glue from all surfaces, clean up the edges of the split so they fit closely together and then glue the piece back in place with good clamping so that the glue line beneath the piece and across the crack are both tightly closed. For glue I would use hide glue, but I know that's not possible for most people. Liquid hide glue or fish glue would be good substitutes, both are readily available by mail order. Whatever type of glue you use will be most effective only if you clamp the joints firmly.
  21. I think you should ignore the crack for now. It’s not a structural issue, and it won’t cause an air leak. It’s also not a good idea to use a permanent adhesive like epoxy on concertina repairs as it may make future repairs more difficult. I speak as a professional. The jobs I most dislike doing are those where well meaning but inexperienced repairers have used unsuitable methods that are difficult to undo. I recommend that you start by getting all the buttons, levers, pads and springs back into working order. Some of the levers appear to be ok - you can use them as a model to put the others back together. Replacing springs is not too difficult, and you might find that some or all of the pads need to be replaced. That should be sufficient to get your concertina working. You are then in a better position to assess what further work might be beneficial.
  22. That is not an anglo, it's a rather unusual English with fewer buttons than usual.
  23. If your plan is to keep costs down then new reeds should be the last thing you consider, they are the most valuable part of the instrument. If the rest of the instrument is beyond repair, the reeds are the parts most worth keeping as spare parts.
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