Stephen DOUGLASS

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.

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!

https://cites.org/eng

Looks lovely. If this is real tortoise shell check CITES regulations for selling abroad.

It seems you joined recently, possibly to get a valuation on your instrument. Nothing wrong with that in my book. But there are so many variables that it would be tough for anyone to shout out a value. On the face of it, looks like a later model, as pointed out above, 1950's. That said I picked up a 1950 aeola model when I first started (on a whim) , and it turned out to have been refurbished by Colin Dipper when the guts were examined. So I would have a look at the 'insides'. How does it 'sound'...tone etc. But I could give you an estimate, if you decide not to sell, and wander down the path of exploring the concertina... It's 'priceless!'

Don't forget the dollar to the pound is very strong at the moment, so instruments that may have been out of reach a while back, are definitely more affordable now. I have picked up two from Barleycorn in the the UK recently for that very reason. The transaction and shipping went smoothly, with just a small amount of taxes/duties applied on arrival.

Big shout out to all who are repairing, fixin' and fettlin'! You are gems. Thank You. I have had a couple of concertina's nuanced by Bob Snope over the last couple of years...transformative work done, that helped me stay 'keen'... and changed unplayable to lovely instruments. This thread is apropos to 'another' regarding 'apprenticeships'....what are we gonna do going forward? Those skilled craftsmen are thin on the ground.

Just as an example, and to give you an idea, yesterday I paid $58.00 duties/taxes on a $1700 Crane from the UK via UPS.

I was thinking the same thing Riggy.

It should be simple David, and I have sensible boxes to put all of them in. The problem I have, is that Hurricanes continue to form in the Atlantic. Living in the NE USA we are prone to extreme weather, so I keep all my 'toys' in the finished basement so that I can keep the humidity and temperature steady throughout the year (pipes are particularly grumpy in low humidity). A couple of years ago, we had major floods and I had some water in the basement, my neighbour's weren't so lucky (& we are all on high ground). From that point I decided to keep the instruments in 'waterproof cases'. I will be following the suggestions above on how to proceed with 'blocking' and lining them.

Exactly what I'm looking to do Alex. Would you mind expanding a bit on materials used, and forming methods, only if you don't mind sharing. Thanks.

Simon, it easing off over here too, not withstanding an 'Indian Summer'....I'm sure the time will pass quickly before it's time to 'crank' up the humidifier....not looking forward to constant refills.

All good advice here. I'm going to explore ways to put covered blocks in my Nanuk Cases. Mean time I'll fashion a belt like strap to keep them compressed. Thanks All.

I have a couple of Wheatstone's that 'rest' in waterproof cases, in what I call a relaxed state, where the bellows are gently and slightly open (no blocks). Conversely I have a Crabb that came with a beautifully fitted case, that is designed to keep the bellows as tightly compressed as possible (without it being a damaging 'squeeze in'). Any thoughts on preferable ways to keep them....slightly open or firmly closed?

I read the word after tongues as 'tested' ...the other word is tougher to decipher

I wish it wasn't so...but after trying out brass, steel and nylon 'pens' for removing rust from the reeds, the fibreglass pen was still the most effective.... Mask and gloves on!

Geoff, I recently picked up a nice Wheatstone in Bb from Barleycorn, I primarily use it for dipping into Northumbrian Piping Sessions and it's a 'ton a fun'. I'm interested in your thoughts regarding other 'purposes' if your willing to offer. Best Stephen

I use Anderson, i haven't made a claim but they were easy to transact with.

I'm all for combining both methods, learning by ear and being able to follow the dots. But my main reason for qualifying the ability to read music is that there are so many gems hidden in plain sight. You can open a page and pick through, bit like and archeologist, some are treasures...some, not so much. But the ability to find them is so lovely. Amongst 'others', I'v been 'digging' in the Vicker's Collection for a couple of years now, and it still turning up lovely stuff...I may never have found them otherwise.

Don, an educational and entertaining post. Thanks Clive, the fiber glass brush is removing nicely, but I'm going to wait til a brass pen brush arrives, before I attempt further. It's just not pleasant stuff.

Pic of reeds in rust removal bath IMG_4564.HEIC

Thanks Clive, I have the fibre glass pen and have made attempts. The steel of the underside has a 'blue' coating and I think that coating is reacting with the solution and seems fixed after the 'bath' and cleaning. I'm going from Deox-c to water for rinsing and then 'meths' for final wipe down.It may be that it does not affect the reed, just not sure.

I'v seen good reports of Deox-C for removing rust from reed in this forum. I'v tested out a couple of reeds, and it has removed rust nicely. But the solution has tarnished the tongue with a blackish color, even when cleaned with meths type solution. The smoother rear of the tongue seems more pronounced. Does anyone with experience with this product have any thoughts on whether this is typical or not...and/or would it affect the reed performance ? Thanks

Success!....not easily, but by gently following the all the way round with a painters palette knife I was able to separate. I don't think these sides have been removed since they left Liverpool Rd. Thanks to all for your advice.IMG_4546.HEICIMG_4546.HEIC

I hope so too Geoff, but at the moment both sides still seem pretty much stuck...I'm being patient so as not to do any damage...hopefully. But if it's glue ...damage already done.