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RP3

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Everything posted by RP3

  1. Larre, You are not the only Irish Anglo player who can't get his fingers around the concept of the EC. I tried a while back and was completely befuddled. Bet many of the EC players feel the same way about the Anglo. Happy holidays, Ross Schlabach
  2. We have two Australian Shepherds and the younger one will curl up at my feet while I'm playing my Jeffries. The older one will stay in the room too but she doesn't want to be too close. As for the cat, she's OOH when the concertina comes out -- dogs or no dogs! Ross Schlabach
  3. Mike, whether it is Wheatstone ECs, Jeffries Anglos, Martin guitars, or Paolo Soprani, the audience always seems to have a high level of expectation! But we do what we can do, and just hope it is good enough. Of course I have discovered that I am my own most serious critic. Just keep playing and smile! Ross Schlabach
  4. Mike, since I am an Anglo player and therefore relatively ignorant of EC models, which picture is your new Model 21? I know that 1915 comes during a prime period for Wheatstones, but I couldn't pick it out of a line-up!! Oh, BTW, you got it from a great concertina repair artiste. Greg has done awesome work for me for a number of years including a full restoration on a 1890s (+/-) bone button Jeffries which included replacing both pin boards. Happy Holidays, Ross Schlabach
  5. After seeing Alex's post, I checked my bone button Jeffries. I have 28 and 30 button models from the 1880s -1890s period and none of them have any mahogany components. They all appear to have sycamore action boards too but it could be some other light appearing wood. It doesn't surprise me that the instruments appear to made of a single wood type since this would greatly simplify the manufacturing process for any home or shop workers doing the casework. IMHO, the selective use of woods, while common in other instrument making for generations, was less common in the earlier part of our concertina history (other than the dominant use of sycamore in reed pans) but has become more prevalent as more recent and current makers have endeavored to avoid the flaws they discovered in older instruments. Ross Shlabach
  6. Sean, on my former small Dipper Cotswold, the soundboards were Cuban mahogany. Mine were also reinforced with two opposing double dovetailed splines. I can't remember what the reed pans were made of. As for the Jeffries reed pans, it's my understanding that the reed pans are sycamore. More importantly, IMHO, is the fact that they are thicker than the reed pans of other makers. It will be interesting to see what others have to say about the topic. Ross Schlabach
  7. I could be wrong, but it looks like these have been overcleaned and have lost not only their patina but possibly their structure too. I have several concertinas with bone buttons that looked like they could benefit from a good cleaning, but I never have wanted to risk any damage. So I left them alone and they play fine. Just saying... Ross Schlabach
  8. Hi Confused, You haven't expressed a specific interest and so that somewhat ties our hands in making suggestions to you. But I'll take a stab just the same as I am an Anglo player and have both pitched instruments. Should you want to involve yourself in the Irish music scene, then the C/G would be the logical recommendation. Most Irish players play C/G in sessions just because it's always been that way if for no other. Playing a G/D in an Irish session could be done but you'd always be an octave down and the character of ITM is all instruments play the same notes and the sound is dictated by the instrument participating. Harmony does not have a great role in ITM. If ITM is not one of your goals, then the issue gets a bit muddier and I can offer little more direction. I have read but don't have firsthand knowledge that a G/D would go well with English tunes -- if not too fast. While I primarily play C/G, I really prefer the sound and character of lower pitched instruments and really like my G/D. But as was mentioned by Don, the G/D as a lower pitched instrument plays a good bit slower and you would be hard pressed to keep up in a sprightly session. The reeds just don't respond as quickly. Of course, if you are going to be playing alone, then either will be fine. Good luck, Ross Schlabach
  9. Haven't heard from him in a long time, but Mo Turcotte lives a short ways from Atlanta but I don't know if he frequents this forum. He sold me my first concertina, a Suttner anglo. Ross Schlabach
  10. RP3

    Dipper

    The Dipper in the latest eBay listing is a different one than shown on the London Craigslist post. Different metal ends and the new listing has an extra button on the C row. So we are slowly putting together the evidence, like Foyle or Endeavor, to confirm our suspicions. Ross Schlabach
  11. RP3

    Dipper

    Well, there is a place called Ripley, Tennessee near Memphis. It's a bit too far out of the way for me to check it out in person on my way to Noel Hill's class in Cincinnati. But the big question is why is it being sold in £ sterling while the item is in Tennessee and of course the seller is brand new with no history. I've got all the concertinas I could ever want, so I'll leave it up to someone else to sleuth it out. Ross Schlabach
  12. Well, three things suggest to me that it is a Lachenal and not a Jeffries: the metal ends (especially the cartouche), the bellows end stamping, and the bellows papers. Also the button size and shape is wrong for a Jeffries. The price paid might indicate that the buyer agrees with the above! Ross Schlabach
  13. Mike made a good point about asking about the material used in the reed frames. Aluminum was used in some of the later Wheatstone models and is not as desirable as those concertinas made with brass reed frames. Some aluminum reed frame concertinas are fine but it is often a reason for concern. Ross Schlabach
  14. Rick, I also wholly endorse the recommendation of Greg Jowaisas for the work on your Jeffries. Greg did a complete restoration on a Jeffries for me that included not only the usual items but also a beautiful new bellows and replacement of both cracked action boards. This is a major undertaking because all the levers have to be removed, the broken boards carefully detached, new boards made and all the holes precisely drilled for lever pivots, button stems and spring mounting points. All in all, serious work done magnificently. I don't think you can do better. Ross Schlabach
  15. RP3

    He's Back

    They won't be happy. I'd be willing to bet that he will come up with some excuse to cancel the auction before it ends. He recently posted it at a starting price of about $3,800, pulled it, listed it at about $4,800, no bids, listed it at about $6,200, and once more no bids. So if he prices it where someone might bid, that's too low in his mind and so he pulls it before it's over. This is one sick creature. Ross Schlabach
  16. I can voucher for the quality of Greg's work since my new bellows are revealed behind "Door #2"! And the work on the rest of the concertina was equally exceptional. Ross Schlabach
  17. This concertina was offered and sold through the Button Box several months ago. You would think that potential buyers would notice that supposedly the concertina is in Washington state but is being sold in British Pounds. With all the other warning flags, it's hard to not be suspicious of the listing. Ross Schlabach
  18. Hi Gary, Unfortunately there is a possibility of fakes where Jeffries concertinas are concerned. There was a time in England when pawn shops there would only accept Jeffries concertinas, so there was an incentive to fake a Jeffries to pawn it. Then too, Jeffries concertinas bore a strong resemblance to Crabb concertinas and the accepted wisdom is that Crabb made some of the early Jeffries concertinas, and it is this family similarity that made it relatively easy to attempt a forgery. That being said, the forgeries involved stamping the Jeffries name on the ends -- with various levels of sophistication -- and there are ways to separate true Jeffries from the pretenders. Very possibly, just a few pics posted here would help us advise you as to the originality of your instrument. Another factor not mentioned is the pitch of the instrument. If it is in modern C/G tuning you would likely find more potential buyers than if it is in one of the flat pitches -- and the price will adjust accordingly. The advice to check out recent auction results on-line are a good first step and careful inspection by a qualified repairman is an even better way to know what you've got and can help with the assessment of value. Since you are here in the states, the best qualified concertina repairman I know is Greg Jowaisas. Within the past year he has helped me find an unmolested Jeffries and done the restoration work with marvelous results, and he's worked on a number of Jeffries for me and others and is very knowledgeable on these instruments. If you would like his contact information, just contact me through the forum's message system or e-mail me at rpsqueezer (AT) gmail.com. One other thing to keep in mind is that the concertina sales market has been weak recently and so selling prices are lower now than they have been in times past. Instruments that would have been snapped up quickly off eBay 12 months ago are now languishing with nary a bid. So you can't count your cash until you actually find a buyer. But talk with Greg and he can give you a better feel for what your concertina might bring -- but, like us, he will need to see pictures or even better, inspect the concertina in person. Ross Schlabach
  19. Congrats to all at the BB for this lovely looking and sounding creation. I just have one (tongue in cheek) question. There are three videos on the page -- demonstrating the new duet. Supposedly, based on the titles, Aaron Marcus is playing on two of these videos and David Barnett is playing on one of the videos. But whoever is playing, all three videos feature a fine player wearing the exact same shirt and pants. Do these guys have to share clothing as well as the prototype concertina? Absolutely wonderful playing in any case. Ross Schlabach
  20. This concertina is now sold and a donation will be made to C.Net. Thanks for everybody's interest. Ross Schlabach
  21. Hi Griffinga, Frank has offered sage advice. Retuning a Jeffries is not done lightly and can destroy the tone of the instrument if you are not lucky. It can be especially risky if the instrument has been retuned before and you try to retune it again. In these cases, there is usually insufficient metal left on some of the reeds for the retuning. I have two Jeffries that have been left in their original pre-A440 tuning to avoid risking the loss of the wonderful character of the tone. Of course this means I am pretty much kept out of sessions with these instruments unless the other players can tune to me, but better to protect a good sounding concertina than risk it just to play in sessions. Having another instrument for session play lets you save the Jeffries tuning as it is. But this is not always possible. Having an old unplayable (I'm assuming that) Jeffries restored is always an act of faith and hope. I recently did it and was rewarded with a wonderful instrument. I hope you are as fortunate. BTW, I'm in Western NC in Tryon -- south of Asheville. If you are close and would like to share a tune or two sometime or have me look at this prospective Jeffries restoration project with you, contact me through the IM. I'd be delighted to meet you. Ross Schlabach
  22. RP3

    Possible Scam

    Well, if it's not a scam, then why did the seller reuse some of the photos from the old listing as well as shamelessly copy some of the description text -- including the exact same wording about fingernail marks between the buttons? But what is even fishier is why have a listing for something that is supposed to be for sale from the US, but the pricing is in British Pounds? I'd stay clear. Ross Schlabach
  23. This seems quite an interesting and yet challenging piece of programming. In playing an Anglo, sometimes being at the end of your bellows (either extended or compressed) can dictate that you use an alternate fingering like a press A on the accidental row LH rather than either draw A. Have you incorporated this bellows management feature into your programming? Also, you may want to incorporate the playing of ornaments which are an integral part of many Irish tunes. And especially Irish Traditional Music emphasizes bounce in the playing, and it would be interesting to see if the program can reproduce this characteristic in its output. I will be interested to see the outcome and look forward to comparing the program's answers to fingerings used by some well-known performers on the concertina. Ross Schlabach
  24. In replacing the chamois on the ends of a Jeffries, I discovered how poorly aligned the holes are that are drilled in the little pieces of brass that the end bolts screw into. I think these parts are called "sets"? Does anybody know the thread sizes for end bolts on vintage Jeffries and Crabbs for instance. And are they the same as Wheatstone threads? And finally, are there any sources for suitably sized taps and dies? Thanks, Ross Schlabach
  25. Laurence, here's a toughie and it's aptly named the Concertina Reel. If you aren't careful, the whole A part can easily be played on the draw-- leaving you airless in short order. The B part is similarly pull-happy but a bit easier to slip in press notes like using a press C# instead of a draw C# (Wheatstone owners can disregard this since they only have one C# on the right outside row). The ability to take advantage of the press A on the left outside row can help with bellows management on the A part as can the press C# on the right side. You don't have to use them exclusively, but an occasional use, together with air button, can bring the bellows back in enough to keep the tune rolling. Give it a try. Ross Schlabach
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