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Posts posted by WendyG

  1. Hi Wendy


    Papers can be removed with warm water - they can tear quite easily though! You can buy a new set of bellows papers from Dave Leese (that might be your best bet). Dave also sells the strips of leather which go round the edges of all the bellows - if you use this, you shouldn't need to remove the papers (i only remove them when the bellows damage is more serious). Also, don't forget to pick up a copy of the 'concertina repair manual' (which you can also pick up from Dave Leese) - essential reading!!!!


    Good Luck




    Hi Dave

    Have already put an order in with Dave Leese for various bits and pieces and one of my Christmas presents is the said manual!



  2. I need to do some repairs to my Lachenal 20b bellows, which involves repairing the ridges. I thought that I could put the strips of leather around the ridges, but would like to remove the papers to ensure a good purchase for the glue (the papers are discoloured). What is the best and safest way to remove the papers? I remember reading somewhere that if you use water it can cause the leather to harden and crack. Do I need to remove every last bit of the paper or if some remains behind, will it show through the new papers? Any advice would be most welcome.


    The bellows have holes just along one corner, but rather than just patching the holes thought it would be better to add new leather on all of the ridges and the bellows ends, the gussets and valleys appear alright.



  3. So Wendy, how about a blow by blow account of your adventures, trials, tribulations, triumphs and (hopefully no) disasters as a fledgling repairer/restorer? Do you intend to tune it yourself as well?


    Pete :D



    Hi Pete, so far I have replaced the valves, pads, a few springs and fixed a split in the bellows and I have a crack in the fretwork to sort out. The concertina was sold with 4 reed shoes that had become detatched, this presented me with my first problem deciding where they went on the reedpan. The second problem (reed related) was a "mooing" reed, a reed that made a metallic twanging noise, and several that were "slow to speak". I have now sorted these out, phew! The bellows are more air-tight now, but I still have some leaks to find. As to tuning, I think the pitch is A=457 Hz, and most of the reeds are relatively in tune with each other. As I will only be playing for myself this will not be an issue. There are a few reeds that I may have a go at tuning (they are slightly sharp), if when I have finished they need it (but I would prefer to leave this). All in all I am very pleased with my purchase (£75) and how relatively uncomplicated the whole process has been, (so far).




  4. Wendy,

    The action is consistent with the 26b C/G Nickold's anglo that I have. The reed tongues in mine are broad, wider than a typical Lachenal's and more like the broad steel reeds made by Jones.


    I couldn't tell for sure from your picture but the reeds "seemed" broad.


    Someone with the experience of Stephen Chambers could give the final confirmation but my money is on Nickolds.




    Hi Greg

    I have attached a larger photo. I am finding it very interesting finding out about the concertina, for instance, the number stamped inside is 458, so probably made early on; the concertina was stored in a box on its end and probably wasn't used a lot - the baffles on one end show the fretwork pattern where it has faded, action in this exposed end also is slightly more tarnished than the other. All in all the condition is much better than I expected when I bought it.




  5. Nickolds used a pivot post that looks like a capital "G" when viewed head on. The steel action arms are consistant with the few Nickolds I've seen.

    Nickolds used a clamp on the reed shoes that has an incisement on either side.


    Another possibility is the mystery builder that Stephen Chambers and Chris Algar call "Tidders". His concertinas, certainly the 20b anglos, seem to be patterned after the Lachenal mahogany and rosewood models. Often the bellows of Tidder concertinas are done in sheepskin which tends to scuff. The gussetts are unusually ample and prominent. If memory serves he used an ink stamp to number his instruments.




    Hi Greg, attached is a blurry photo of the pivot post. The clamp on the reed shoes does have cut-outs on either side, so it is looking like a Nickolds, the number stamped into the bellows and reverse sides of the action boards (458) does have ink present though.




  6. Well the innards are consistent with Lachenal and from that angle the fretwork looks far more like it. Does it have the give away stampings on the right hand side hand rest?


    It doesn't look too bad at all, have fun with your project. :)




    No stamp on the handrests.



  7. A photo of the action would be helpful too.


    It doesn't look too like a Lachenal to me Wendy although they commonly had retailers labels fitted, the fretwork looks a bit coarse. Are there any words stamped into the woodwork of the hand rest like 'English Make' or 'Trade Mark' with a reed design?



    I have taken some photos (apologies for quality they were taken with my mobile phone). I am not too fussed about the make as this will be my first project and I didn't pay much for it.








  8. Hi I have just acquired a 20b concertina in the hope of "doing it up". It looks very similar to the lower end Lachenals, but the label (where the Lachenal label would be) states "T. Bennet & Bennet, manufacturers, St. George's Mansion, 81 Theobalds Rd., London, so is it a copy. I had a look inside and the only number I can find is L or R 458 stamped into the bellow ends and the reverse sides of the action boards. If this isn't a copy I assume it was made very early on. I am hoping that I have attached a photo, but am not too sure how to do it :rolleyes:




  9. Thanks for all of your replies. Geoff, the CD that comes with the book does play it a bit slower, but not slow enough, I have a mac so will have to investigate your suggestion.. I think that probably the best thing to do, at the moment is to be patient and just learn small sections as Dick Miles suggested, until I know it the whole tune off by heart and then concentrate on getting a bit faster.



  10. I have a Rochelle and couldn't get on with the tutor that came with it, so I have recently purchased "The Anglo Concertina Demystified" by Bertram Levy. I prefer how he teaches - and can play "Twinkle Twinkle Little Star" on both the left and right sides at the same time, and "Three Blind Mice". I am now trying "Constant Billy" an English Morris Tune, but am having great difficulty getting the right rhythm. Luckily the tutor comes with CDs so I know what it should sound like, but try as I might I just can't seem to grasp it.


    Any tips and advice would be most welcome.



  11. Hi I have a Rochelle (from Concertina Connection) but found that the gig bag it came with was a bit of a tight fit. I purchased a fishing bag from an Aldi store (£7.99) which is padded (about 1cm thick) and has a separate bottom section so that the concertina is insulated from damage occuring through the base of the bag. It's not very compact but the concertina fits nicely inside, allowing it to be taken out of the bag in a ready to play position.

  12. Hi

    I am now the proud owner of a Rochelle concertina, purchased from Concertina Connections. I have no musical instrument knowledge except for taking a few guitar lessons at school 33+ years ago. So I am a complete beginner. I did purchase about a month or two ago, a second-hand Scarletti English from Hogoblin (who checked it over first) but I found playing it uncomfortable as I have arthritis of the basal thumb joint and had difficulties reaching the buttons closest to my palm (I have normal sized hands, so not sure why the trouble). I want to play Irish and folk music so the Anglo is probably the way to go anyway.


    I live in Boston, Lincolnshire in the UK.

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