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Posts posted by DDF

  1. I didn't measure the thickness under the clamps this would be the place to find the original thickness.I would guess they started with two or maybe three gauges of steel before working the tongues .In the Wheatstone workshop film it shows them surface grinding the uncut tongues so I guess they would have have a gauge near to finished size before profiling. The final filing goes right up to the clamps  which probably explains the variation in the measurements at Point"1". Regards David.

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  2. On 8/13/2022 at 3:41 PM, David Lay said:

    It seems concertina designers either learn their craft be working with someone who knows (a Master) or by research and experimentation.  (Wouldn't a design manual be nice!)  I would like to better understand reed design.  For any reed tone, there are several aspects that can be adjusted including reed length, width, initial thickness, metallurgy, and lastly - filed variations in thickness.  Assume one has the frame gap and potential air leaks all resolved.  What reed dimensions would one start with for a very responsive C in each octave?  (C3, C4, C5, C6). I expect a larger but thicker reed may be capable of sounding at a desired high pitch, but that it would be "stubborn" to start and muted.  Could one make a "stubborn" reed more responsive by filing? 

    This may or may not be of interest.These are metric measurements from the reeds in my 1917 Wheatstone Linota.


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  3. Snap, Many years ago some friends were coming to visit and picked this up in a charity shop en route. They thought it would be a bit of fun. It is in much worse condition than yours  but as mine  was was double reeded I hung on to it and it has been "a bit of fun". Regards David.



  4. 14 hours ago, Chris Ghent said:

    As Paul says, if the current ever runs the other way people can change them back.

    The reeds define a concertina and the biggest drawback of using the reeds from a Lachenal duet is they are very unlikely to be very good. After a lot of work you will have a poor anglo. 

    I converted an old 39 lachenal McCann and it is very true that it is only as good as its reeds which were rather average.post-536-0-63031400-1442008222_thumb.jpg

  5. Have you ever opened up a concertina and wondered how on earth it came to be full of black dust and muck .The answer might be it was this one mentioned by Walter Wilkinson in his 1927 book The Peep Show."By their conversation they were in a gloomy state of mind and they reminded me of a man I once met who always relieved his low spirits by locking himself in a dark coal cellar and playing a concertina for an hour or two".

    Walter Wilkinson's 8 books documenting his travels with his puppet  show can still be picked up,  are all very enjoyable .David.

  6. That reminded me of something that has been on a shelf in the workshop for years.I just dug it out and took a picture I bought it thinking it was gold but when you put a metal detector/stud detector over it it doesn't register.I just put some in a drop of nitric acid and nothing happened so I guess its mica or goodness knows what.I think it was the box it came in mislead me originally.IMG_20200804_155508012.thumb.jpg.1485fc5c4eb760a45800ead1c0583e77.jpg

  7. On 1/2/2020 at 9:58 PM, SteveS said:

    I'm intrigued by these reeds.

    Bill, or anyone else here, do you have any practical experience with these reeds?

    How do they sound, especially compared to traditional concertina reeds?

    Do they have a more accordion sound to them perhaps?

    I found the response to be ok but overall the sound of them is a bit disappointing.A little weak and breathy. I would say they are equivalent to a very average set of Lachenal reeds and the sound to be somewhere between accordian and traditional reeds.

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  8. On 12/28/2019 at 7:29 AM, alex_holden said:

    A client told me they have a Dipper instrument with ebony buttons. I've made a couple with boxwood buttons (not as hard as LV but it is very dense). Unfortunately true LV is now endangered and difficult to obtain. I have an antique wooden mallet with a LV head, but any time I use it I feel guilty about using such a rare wood to bash things!

    If you  fancy trying some there is actually a plentiful supply of LV in old abused crown green bowling balls they used to be about a fiver a piece .A challenging recycling project for sure.


  9. 21 hours ago, Richard Mellish said:

    I'm wondering how the pads are joined to the levers. They appear to be integral, without the flexibility that a conventional concertina has at that point, and therefore relying entirely on the elasticity of the material on the side facing the action plate.

    It says somewhere they are attached with a small firm ball joint on the lever ends and they seal very well. David.

  10. 2 hours ago, alex_holden said:


    Thanks John! Prompted by an email discussion with John a few weeks ago, I had a go at building a set of bellows that could open wider than 90º without compromising their ability to close fully. I didn't manage the 114º of the Crabb, but they do open comfortably to about 104º, or a little more if you stretch them (I suspect they might get somewhat looser when they have been broken in for 84 years or so).


    It sounds like it is worth also adding slightly more depth to the cards, e.g. Chris's 27mm is about 1 1/16". I wonder what is physically happening to cause bellows with deeper cards to feel 'floppier' and if there are things we could do to mitigate the effect, e.g. by using stiffer card.


    Perhaps the type of instrument/style of playing has some bearing on matters too - e.g. a duet player who uses a lot of fat bass chords might want more lung capacity whereas an ITM anglo player might care most about rapid reversals.


    I'm still curious about the number of sides thing. Do vintage Edeophones have 1" deep cards? 

    I just measured the card in a 12 sided Lachenal bellows from around 1910 and they are 1".David.

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