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Stephen DOUGLASS

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Everything posted by Stephen DOUGLASS

  1. Bilt Hamber Deox-C is not toxic and has worked well for me with rusty reed rehabilitation. The fiberglass brush on the other hand......
  2. Generally when this happens the tunes you conflate tend to work well with each other. I identify the offending interloper, and play then them back to back to see which combination has the most pleasing transition. From then on I probably always play together.
  3. Possibly the folks at Wheatstone (and possibly others) were looking at improving tensile strength, and mitigating cracks in low humidity, and the idea 'stuck', whether it worked or not (the aesthetics are appealing). The 'physics' of domed V flat, may have been a factor in the original design.
  4. Bringing it back to the original post. There is an interesting thread in bagpipe maker Jon Swayne's page, which relates to air speed and temperature. Scrolling down there is an interesting table on change of pitch depending on temp. As a skilled 'pipemaker' he will have done his homework. https://www.jonswayne.com/_files/ugd/6788c4_901e3df0e96f41c8a1a3a169b9700740.pdf
  5. This is fascinating stuff, I went down a rabbit hole after seeing the first video (shades of 'Cannon and Ball', Johnny Handle and Alistair Anderson). There is a more extended concertina piece in this clip if anyone is interested. Thanks for posting.
  6. When we start the journey on a new instrument we mistakenly get caught up in the rush to rapidly improve. The early hill of the 'curve' should be the most enjoyable, best enjoyed through wandering the new paths, while surprising ourselves with the new discoveries. The only way is up!... It is the 'plateau' that I find the hardest, (I'm sure you have been there with other instruments). It is flatter terrain, so not as easy to see where you are heading, easier to get lost, and then we realize that there is no end, just a continuous gently undulating 'steppe' that we learn to love. Don't forget!... Don't rush the hill, the plateau requires much more energy and commitment.
  7. I'd be interested to know if the 8 sided Crabb's reflected a deliberate attempt to produce an instrument with an 'uptick' in quality construction methods (similar to Wheatstone and their approach with the Aeola), or was it more 'cosmetic'? From the photo's, this looks like a 'fine' concertina David.
  8. I don't think it's overkill Peter, I think it's being prepared (for the unknown) 'as a good scout' knows. I didn't think I needed waterproof cases until I got flooded (If I'd been asleep....disaster!). Unless I'm playing them, my instruments are latched and sealed in cases similar to the one above. I use 'Nanuk' stuff.
  9. I have over the last couple of years, had several concertina's repaired by Bob since Button Box closed. I was very happy with the work he did. Though I will miss the relative proximity of his workshop in Mass', I'm delighted he is still 'fixing'.
  10. 'Tile' have a slim product that is already on the market. The also have other stuff (as do Apple) and I use them in instrument cases, especially KEYS and wallet, which i can never find. They rely on other users 'pinging' them for location. If this technology is different and doesn't rely on nearby locators then it might be worth considering. Dog tracking technology is satellite supported but expensive. If only stuff didn't get stolen, lost or just wander off.
  11. Simon, I get the 'gist' of your post, but lets also not forget that of its time the concertina, would have been considered new technology/machine, also with a potential for failure. After plenty hours/years of practice, I could still never say I have a talent, what ever instrument I'm playing, rather for me, they are a conduit to connect with the music. If something new comes along that helps to assist with that, and works, I'd embrace that 'technology'.
  12. Re Horniman Ledgers, It worth noting that dates of manufacture may not correlate with date of sale, especially in later years. In the SD02/03 Dickinson 'books', up to 1934 it seems that manufacture date was in the left column, then around that date it seems the date of sale was also added. (#33150). Around 1941 it shifts away from manufacture date to a reference in the first column (35333) (if anyone has info on these references I'd be interested). A random check of a page with serial numbers #35461 to #35483 has a sale date spread from 1943 to 1958 but presumably made around the same time. This follows the Second World War which may have something to do with the spread. These are just my interpretations so I'm willing to be 'put right' here.
  13. Over the last couple of years I purchased and received a couple of concertina's from the UK that were shipped via UPS. The delivery person, asked for a cheque at the door before releasing. Value of each was around $2000 ish and I paid less than $50.00 fees for each (shipping /insurance had already been paid). No receipt given or breakdown of charges, other than verbally 'they were import fees'. It may have been that UPS charged a fee for processing through even if no duty was charged. Nevertheless, when you have the the box sitting right there, to quibble doesn't seem sensible as the driver will leave with it until you 'sort it'. At customs, I would employ a similar approach, and if you get 'tugged', fess up and pay the 'small fee'. Why take the risk when you've invested so much already.
  14. Phil. The more/longer we play any instrument the more the frustration can take hold. This is not always a problem with the instrument, instead we find ourselves looking for 'more'...a certain sound, learning tunes by ear, perfecting techniques etc. It never gets easier as we try. But getting 'better' is a nebulous concept that can get in the way of enjoying playing. Also making a connection with an instrument is a lovely thing, how it sounds, resonates in the hands or the body, amongst other qualities. But ultimately for me, it is the connection with the music that is primary, and helps push through the frustrating times. Play music you really like, or find a genre that 'cranks your tractor'....and hey...we always need some alone time. Sometimes though, we just have to put our 'toys' down for a while, but think hard before selling, especially if it's a nice sounding concertina. I would have been disappointed if I'd sold some of the instruments I laid down in frustration, but eventually, and happily, picked up again. Just take some time fella.
  15. Thanks for the good advice David. Coincidentally this concertina came from a Missionary who worked in China, though picked up London, and I believe brought to Maine on his retirement. It also needed work, as I think he passed shortly after arriving home to Maine and sat unused. It was therefore pristine on the outside, but after opening, It did need some proper work. But is a lovely 'thing' now.
  16. David, possibly I should change my tactics, up the ante... run room humidifier and ALSO use case humidifiers. We had a spate of brutally cold weather here (during which I couldn't get humidifier to run beyond 35%) and that may have contributed, but I suspect it may have been lurking in the wood waiting to happen. I did run out and buy a small case 'humid' that night for the box in question.
  17. I have noticed a couple of small cracks on the action board of my Crabb English. They seem to be 'slight' and don't go all the way through (But I might be just 'kiddin' myself). Is this something that should be repaired, or something I should keep monitoring? Thanks in anticipation.
  18. Short phrases as mentioned above is an excellent way. Building blocks. Plenty repetition,initially keep the music there right in front, it's a lovely psychological crutch, knowing you can take a peek. When when you think your ready, (and you will probably know when) discard the 'dots', remember the opening phrase, then think of anything else other than the music. A recipe for moussaka, a math problem, anything to divert your 'mind'. This sounds counter intuitive but it works for me. Listening to the 'music' against random thoughts, and NOT overly concentrating on how it 'should sound', allows a space for the 'tune' to flow. It won't always work as 'planned'...but that's just OK.
  19. JRB....I live in the NYC area and use a large Aircare EA1407 (older equivalent) and does a large room. It has lasted me well. I change the filters every year, and the water pretty much every day when the weather gets in to the scary places. TBH initially the purchase was more to keep my pipes with cane reeds playing. I find the concertina reeds are more stable in dry weather. Never the less, I am in no doubt that it protects all my instruments from drying out. I roll the unit out in mid December until March April'ish and I keep the unit set at 50% otherwise I would be refilling the large tanks several times a day when the weather is extremely cold and that seems to work fine. I have never been a huge fan of the 'in the case' humdifier's, as when the instrument's are removed you are blowing the dry ambient air through. The humdifier allows a level of consistency. Too much to pack in here, but do a little research if you haven't already on relative versus absolute humidity.
  20. Mandojoe, if your reason for starting this thread is because your thinking of buying, and getting started on this lovely instrument, your doing some diligent work. Nice! Many of us just dive in and do the research afterwards. ( I did). That said if you acquire a well 'set up' instrument and are prepared to do the practice, you will not be disappointed...what ever flavor you decide on. I started out on English, and to be honest, because of the layout of the buttons I find it the easiest to 'read' music (especially on the fly) of all the other instruments I play. It's just intuitive (for me at least).. left hand 'on the line' of the staff..right hand in the 'middle of'. But if you continue your journey it's highly likely, as you commune with others with the same interests, that you may want to explore the other possibilities, and even find that you want to go a different route. Just get crackin' on that journey, it's exciting
  21. Chris, this is nearly 100 years old and still shines bright.
  22. Ed, It is with out doubt a conundrum. Do we let an instrument sit on the shelf, or should it be allowed to be in the hands of someone who can at least not confine it to obsolescence. The CITES dates are in place, and the protocols should be followed, but that doesn't mean the practice's before they were put in place was any less harmful. We have to individually weigh our ethical decisions. We may be having this same discussions about Ebony or other woods in the near future, some are already listed in CITES. Continuing dialogue keeps us mindful of our responsibilities.
  23. I'm not sure 'fortunately' is the right word for me! If you are 'moving' any ENDANDERED species you need exemption certificates irrespective of the dates of manufacture. Are we trying to save the planet or not!
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