RP3

I'm aware of several D/A tuned 12 sided Wheatstones -- Grey Larson has one. These were custom made by Wheatstone for customers in the Cincinatti, Ohio area. If I remember correctly, at least Grey's came with a second set of reedpans but I don't remember their tuning. If you check back on old threads you can probably determine when these were made because they've been discussed before.. Greg J. will likely remember, but he's currently at Irish Arts week. But, I don't think that many were made in that tuning. Ross Schlabach

When I started checking out the pictures, I began to wonder if there were any of concertina players? But with a touch of patience, I found them. And I must say that in the almost 20 years that I've known Noel Hill, I have never seen him so dressed up and brushed down! A lovely group of photos. Thanks Peter. Ross Schlabach

If I'm not mistaken, Ben was the seller. Ross Schlabach

Wonder if William Kimber was related to the famous founder of the MG Car Company, Cecil Kimber. As a lover of both concertinas and old MGs, that would be a wonderful convergence of interests for me. Ross Schlabach

David, I agree that Tunepal is not all that accurate. Not even sure it hits the mark 50% of the time. I accept that my playing could affect the results but on a couple of occasions I repeatedly played a tune I knew into the Record function, and each time it gave me a different answer. But sometimes it is spot on. I think it is best to try to use it to see if it will point you in the right direction. Since I can read dots and can whistle, I can select the tune it names first and let it pull up the sheet music. With a quick scan of the melody, I can tell if it has identified the tune I was looking for or completely missed the boat. In any case, it can occasionally be a useful tool to help track down elusive tunes and their names. Regards, Ross Schlabach

Among other things, the composition of the reeds will determine their stiffness and flexibility and consequently: 1) how easily the reed will start moving in the air stream; 2) how fast the reed rebounds after its downward movement; 3) how quickly it can repeat the above; 4) what the amplitude of the reed's movements will be; and so on. All these will play a role in how the reed's movements and harmonic characteristics shape the vibrations that become part of that air movement -- or put another way -- the sound we hear. Another analogy is the difference between the tone of a steel string guitar versus a nylon strung classical guitar. As is the case with the reeds, the string's composition and physical characteristics will determine how they shape the vibrations in the air making the pitch and the tone we hear. Regards, Ross Schlabach

Wouldn't surprise me if the bidder withdraws his/her bid before the auction ends! Ross Schlabach

Since Stainless Steel wasn't invented until 1913 -- long after the death of C Jeffries Sr, I think we can safely rule that out. But apparently Jeffries did use very high quality steel in his reeds. The shape and thickness of the reed shoes may also have played a role in their remarkable sound. Ross Schlabach

Oh goodness, and I should have mentioned Greg too since he has made fine cases for me in the past. If you decide to e-mail him, be patient. He may still be out of town a while longer. But he's worth the wait! Ross Schlabach

Another option is to contact Frank Edgley on this side of the pond. He now makes the fine cases previously made by Sean Fallon. It will be made specifically to fit your instrument and is strong enough to withstand rough treatment. Give him a call or send him an e-mail. Ross Schlabach

Folks, mine IS in need of new action boards on both sides with replacement of the action once that's done, replacement of any worn levers/rivets, top quality bellows with all Jeffries tooling and papers, pads, valves, tuning, rebushing of all buttons, button height re-set & button pressure adjustment to my specs, new chamois gaskets, replacement of a couple of non-Jeffries reeds, possible adjustment of corner blocks, etc. So my cost IS quite reasonable. Nuf said! Ross S.

Alex, I have a Jeffries in the process of being restored with an initial repair estimate a bit over $2k. The reedpans on my instrument are pristine as are the reeds. Judging from the photos, this instrument on eBay is in far worse condition, so I think that my $3k estimate is very close! And we haven't even seen photos of the action pans to assess that part of the instrument. Ross Schlabach

I agree with Alex that This does not look like a Jeffries: the ends are not cut like any Jeffries I've ever seen. Also, those ends do not match the ends of a 38 button concertina recently on eBay from Chris Algar. He described his as a Shakespeare. Another normal way to identify Jeffries is that one or both ends are stamped "C. Jeffries Maker". This stamp can be faked but the instrument in question is unstamped. The bellows may not be originial, but if they are, they are not decorated in the normal Jeffries style. I also think that this is not a Crabb either. The condition suggests that this concertina needs serious repair that could add maybe as much as $3k to the final cost. One last matter is the pitch of the instrument. The reeds could be stamped, but there is always a possibility that the instrument has been retuned sometime in its hard life. Regards, Ross Schlabach

Yes, Greg. Those bone buttons make all the difference. It plays like the thoroughbred that it is. Ross Schlabach.

Julie, folks on this forum have been very supportive and VERY gentle in their assessments of this instrument. I understand their efforts to be supportive. But from the photos, the reed pans look to be in the process of disintegrating. Other issues like the broken reed have already been mentioned too. Then there are the extensive cracks running through the holes on the pad board and apparent damage to the action board. Each of these is a serious problem on any concertina, and the repair of each is not always simple. Add them together, and you have what I would suggest is beyond the normal realm of reasonable repairs -- even for a clearly more valuable instrument. If you decide to contact Concertina Connection to see about parts, see if you can discuss the condition of the instrument with the owner and get his opinion too. I think that he will tell you that the amount and cost of work that will be needed on this instrument will greatly exceed the value of the finished instrument. As a concertina repairman friend of mine once pointed out to me, sometimes the best outcome of a concertina search is to walk away. Good luck, Ross Schlabach

Chris, I'm not a muscial expert, but I think your focus on the extra accidentals misses the fact that those keys won't give you all the naturals that for instance you get on a C/G concertina. A 30 button concertina gives you more note choices -- regardless of key combinations -- but then a 38 button concertina gives you even more options. If you are playing alone, it's not a problem, but if you want to play in a session, then you would probably need those naturals to play in G or D but wouldn't need those extra accidentals. For concertina people who want the whole chromatic spectrum, there's the choice of English concertinas or duets. And button accordion folks solve the problem by having the two keys adjacent like B/C or C#/D. Of course, by having the concertina keys a fifth apart, you have great chord capabilities. Sharing my own personal perspective, the key combinations below C/G offer sweeter tone -- if at the expense of sometimes slower reed response. A number of fine concertina players I know would much rather play instruments in these lower pitch combinations than C/G, but at least for Irish music, C/G is the preferred tuning for sessions. Some special sessions will be in C#/G#. Now those are some of the easy answers, now our experts will jump in with the serious musical theory. Ross Schlabach

David, as I am a leftie, tunes residing primarily on the left side of the anglo are of particular interest to me. At my earliest period with the anglo, I was exposed to Noel's playing of Master Crowley's and Maudabon Chapel, and I found the tone, lilt, and rhythm delightful. For many years I have worked to have a performance of Master Crowley's suitable for public consumption -- to no avail -- though I haven't given up. I do also enjoy adding the C# from the outside row whenever convenient to extend the range of some D tunes. Plus one should not forget the other wonderfully rich notes hanging out down there. What is particularly frustrating for me is that when I move to one of my two 28 button Jeffries, I have a different and more aggravating challenge since these instruments have the low A stuffed into the far corner -- one button over from its position on a 30 button Jeffries or Crabb -- and neither of these 28 b. instruments has the low A on the draw on the bottom button on the inner row. Of course, I could have that low draw A added if I could find suitable reeds, but the ergonomics of the outside row are completely destroyed by the shifted note positions on the left side. The result is that I can't fully enjoy the low tunes as much on the 28 button instruments as I can on the 30 button ones. But I haven't quit yet -- I just hold little hope for my aging pinkie! In the meantime, I derive particular enjoyment from the playing of those who have mastered that range of the anglo and enjoy it as I do. Ross Schlabach

I'm a Leftie and a long-time student of Noel Hill's. As was mentioned earlier in this thread, he plays with the left end on his left knee and teaches that positioning to his students. I tried that but found my right hand and arm were unequal to the task. But I was able to easily adapt to a right end on right knee positioning that has worked well for me over the years - Noel's fussing at me nothwithstanding. I am delighted at the dynamics I can get this way. Some can argue that using the left knee allows the lower notes on the anglo to be reinforced somewhat by reflection off the knee. If that is in fact true, then my using the right knee is probably reinforcing the higher notes somewhat. I don't know for sure but I haven't had any complaints. I have always felt that keeping the bellows off the knees would extend the life of the bellows. If one feels the need to use the knee(s), then I think it's mostly a matter of personal preference. But I do think Dave has a point and I think that if you own a fine instrument like a Jeffries, Wheatstone, Dipper or the like - with original bellows - then don't you have some moral obligation to care for and protect that bellows? Of course if you live close to a bellows maker like Greg Jowaisas and you don't feel any need to protect a bellows, then Play On! Ross Schlabach

Don't forget the three weeks of the Noel Hill Irish Concertina School starting in late July! Ross Schlabach

Neill, This is a standard scam trick. Do not go for it. The risk is too great. Ross Schlabach

I agree with Frank. I'm assuming that we're talking about Anglos. My first concertina was an early Suttner (#48) and it was a raised end Linota model -- even though I don't know if there was such a thing when Linotas were new. The height of the palm-rest was too low given the raised center section and I was constantly fighting with it. My fingers had trouble arching back -- especially for the G row which is closer to the palm-rest on Wheatstones than it is on many other brands. The low F# was particularly tough to reach with my big hands. The problems went away when I got my first Jeffries -- a 28 button C/G from Paul Groff. Possibly, a taller palm-rest would have helped, but I always found the ergomonics uncomfortable. If you really think you want a raised end concertina, my advice would be to find someone with a raised end model and try it out first. And confirm the key dimensions with the maker before you commit. Otherwise, flat ends are the way to go. Ross Schlabach

While I have not had the opportunity to take classes with Grainne, I have attended the Celtic Week at Swannanoa for several years and each has been an outstanding learning and musical experience. I also have concertina playing friends who have taken Grainne's class, and they have had nothing but good things to say about her class. You should also know that instructors are critiqued by the students and instructors receiving bad ratings aren't asked back. Grainne has been teaching concertina there for a number of years. In addition to the daily 1-1/2hr +/- class sessions, there are lots of other playing and learning opportunities at Swannanoa. Each evening from 6-7PM, there is a slow jam session hosted by one of the instructors. The hosting instructors change each evening. These are great learning sessions with opportunities to play with other instruments and not just concertinas. For later in the evening, there are usually several sessions going on at different locations around the campus. Near the session tents, they have a beer tent and pizza is delivered each evening around 9 PM or so for those who need a little more sustenance. To say that someone has lots of playing, learning (and eating) opportunities at Swannanoa is still understating it. And to top it off, there is a dance -- normally on Thursday -- that features a number of the instructors and top students as the band. You can dance if you wish, or just enjoy listening to the music. Hopefully you will get your specific questions answered, but I feel comfortable in telling you that you will have a great time if you go. Regards, Ross Schlabach

Andrew, when I studied the right hand photo you originally posted, I could only see two buttons that obviously looked like they were added later. The rest looked original. I couldn't find a picture of the right end of a 38 button model to compare to but I'm thinking yours might have started life as a 38 button model. One reason I'm thinking that way is the metal around the rest of the buttons. Only the 2 bottom end buttons extend beyond that solid metal portion that normally surrounds the button area. It will be interesting to hear what our experts have to say. Ross Schlabach

Hi Andrew, I have several Jeffries models and have considered the same question. My suggestion to you is that you not mess with the bent metal and compressed wood if that's your only problem. Now if you need other repairs to the sides, then my answer would be different. But if the concertina doesn't have any bellows to frame air leaks, I'd leave well enough alone. From the limited views you gave us, I wonder if the bellows are going. If so, I'd recommend you go for a quality bellows replacement. No cheapie here since you've got a quality instrument. On the restoration vs conservation argument, I have no use for collectors who take good playing instruments out of circulation. So I say to do what needs to be done to keep this Jeffries as a top player -- and enjoy! Ross Schlabach

No, but it is an endorsement for brass reeds -- the laser issue notwithstanding. Ross Schlabach