astrotina

I'm about to order pads for my Lachenal 48 english and am wondering what surface is better for the contact between the leather and the pad board. Some suppliers have a choice of both smooth and rough sided pads. The existing pads have the "rough" side in contact with the hole. However I do not know if they are the original pads. They measure about 2-3mm thick and are made from card, white felt that is not woven, and a whitish leather. I'm inclined to order the rough sided pads because that's what I find but some of the discussions in the archive lead me to wonder if that choice will be the right one with respect to noisy pads. I've read a bit about Lachenals being noisy but that seems to be related to the absence of bushings to keep the bone keys from tapping against the holes. The other thing is the staple and wire action seems to be noisy as opposed to the Wheatstone riveted action. I've also been reading about pads and valves slapping as they close, perhaps more to do with age of the leather than anything else. Still it's a good question: which side of the leather to use for pads? If this has been discussed already could you please point me to the appropriate posting. Thanks, Ed PS; Sorry about the typo in the title. I meant to write "Noise" instead of Noice

Here are a few photos of the concertina from the left side just to show the reed bed and the action. I've included a shot of the left face plate in case that helps anyone to identify the model as well. The photos of the padboard show the cracks in the padboard that needs filling and fixing. Don't know if the cracks are large enough to warrant a piece of replacement wood or if wood filler will do. Thanks, Ed

Hi Pete, Your point about the silkpurse/sows ear is well taken. I'm mostly interested in getting a reasonably playable instrument that sounds like a traditional concertina. It's a learning instrument for me, both from the standpoint of playing and repair. I'm also too cheap to spend $1000 or more for a restored instrument with brass reeds. If I can make it look nice along the way it might make the instrument more attractive to play both for me and the eventual next owner. I like troubleshooting and fixing things as well. That said, how do I know a good instrument from a bad? I can upload images of the instrument for all to see if so requested. I just don't know how to judge the original quality of the instrument and haven't found much information in my stumbles across the internet about the different kinds of Lachenal models. I suppose the most important thing is the brass reeds in the reedpan, and next is the action and keys. Those would make the biggest difference in the playability and sound of the instrument. Any pointers on what to look for in the reed pan and the action/key assembly to know if I have something reasonably decent or not? Thanks, Ed

Hi David, Thanks for responding. I've got your book and have been closely reading it to help me figure out where to start and what to do. I'm confused by one of your lines from your response. ("Accurately pitching the key holes") By pitching the keyholes do you mean the process of locating the new holes in the new end plate so they line up with the old holes and the action plate? I suppose that makes the most sense here given the rest of your cautions. I've been thinking about that myself, how to line everything up so the keys travel smoothly as they are pushed. It's a rather daunting task to start from new and I'm starting to seriously reconsider whether to make new end plates. One idea I'm toying with right now is trying to improve the action by increasing the size of the holes in the end plate so that I can insert felt bushings. I know the instrument never had them but it might help the over all playability. First thing is to get the instrument playing properly. Valves and pads and bellows repair. About bellows repair. I've been reading about a product called "Zephyr leather". It sounds like a very thin leather, perfect for repair of bellows, especially in the inner fold where I do have some cracks. Anyone know where to find it in the states? I've been searching online and haven't found it except in reference on some concertina related sites. I don't seem to find it for sale. Thanks, Ed

Thanks Dave, Yes, I have a copy of Dave Elliott's book and have been studying what to do about different problems. It's a very helpful book. I am noticing the resounding silence about this question of replacing the end boards. I wonder if, perhaps, I'm talking sacrilege in wanting to replace the ends on a Lachenal student instrument. I've taken another look at the damage and think I can probably put new pieces in. There are quite a few of them which is why I thought along those lines. That project will have to wait until I get the valves replaced, new pads installed, action adjusted, bellows repaired and repair a crack in the pad board that I just discovered once I got the Left side action box off. Thanks for the pointer about the soldering tool. It does work. Also, grinding a screwdriver to exactly fit the slot of the bolt heads made a big difference in how well the screwdriver was able to stay in the slot. Screwdrivers are usually wedge shaped as they come from the store and need to be reshaped to have the flat sides parallel to each other . Otherwise they tend to push themselves out of the slot even if they are a good fit. I'd like to repair the damage to the end plates around each of the bolt heads somehow. The left side plate is especially bad with raw gouges from previous owners attempts to open up the instrument with oversized screwdrivers. I don't think wood putty will look quite right. What have others done there? Should I plane/route off the top 1/32" or so at each corner and glue in a new piece of mahogany, matching the grain somehow? I suppose another option is to drill out the damaged area and glue in a plug, matching grain direction. An appropriate sized Forstner bit should do that nicely. Here's a related question. What kind of wood was used in these student concertinas? It looks like mahogany, but what kind of mahogany was used? There are many different kinds and more were available around the turn of the century when this instrument was built. Anyone know? Thanks, Ed

Hi all, I'm new to the forum having just purchased my first concertina. It's a Lachenal 48 button that's in need of repair. The instrument is #51287 (various estimates as to date from 1886 through 1920's). It has red (varnish.shellac finish)end plates with a canvas dust cover on the inside to which is affixed the Lachenal paper plate on one side and the serial # stamped on the other side. Four folds to the bellows, the bellows look fairly good from the outside, no repairs seen though inspection from the inside with a bright light shows a few holes and breaks in the inside folds. The keys are bone dyed black and red. The action needs adjusting as a couple of the buttons come out of their corresponding holes in the action plate and get stuck while trying to press them in. Other observations may come in time but first things first. I plan to replace all the valves (some are curled badly), replace the pads, sampers etc., adjust the action, fix the bellows and a couple of other things in order to get the instrument working, all the notes sounding. One real question I have is how and whether to replace the wooden ends of the action box. There are quite a number of splits and missing pieces in each side and I'm seriously considering replacing them. The Lachenal also comes with a canvas(?) ring that appears to be there as a filter for dust ect. from getting into the action box. The canvas has many small gray spots (mold/dirt?) and I'm thinking of replacing the canvas. However!! the canvas also has the serial number on one side and the Lachenal paper plate on the other. I think I could probably get the paper plate off but I'm concerned that removing the other side is a bad idea because I'd be removing the serial number from the outside. There are corresponding serial numbers on the inside in a couple of places so anyone opening the instrument would be able to find the serial number even without the original canvas piece. I guess the question is, is this an instrument that should be repaired in an "authentic" manner or does it not matter? I'm assuming it's a tutor model, the "cheapest" design that Lachenal made at the time I'm wondering a number of things about replacement of the end plates. 1. What kind of glue was used on these end plates? Usually musical instrument makers would use hide glue which should be fairly easy to deal with (I studies musical instrument making at an earlier stage in my life). 2. What kind of wood was used in the "tutor" models? It looks like maple (sycamore) but I'm not sure. 3. Is there any real problem with replacing the wooden plate with something a bit more snazzy like Amboyna veneer over maple or something like that? I'm currently thinking that it would be a vast improvement in the looks of the instrument but perhaps it would be better to restore the instrument to its original appearance. 4. I'm assuming the finish is probably varnish or shellac. Is this true? 5. The holes for the buttons are sized for easy travel of the buttons. If I'm going to make new end plates anyway, would it be better to drill the holes oversize a bit to allow for installing felt bushings for each one? If so, what diameter do I make the holes if the keys are 4.85 mm in diameter? Any suggestions or observations from those who have done this themselves would be greatly appreciated. OH!!! I managed to get the RH side off but found all of the end bolts frozen in with rust. The left is much the same way. Any suggestions as to best way to extract the bolts? Thanks, Ed