Bill N

I believe from previous posts that you play Anglo, so: Yes, those can both work. You can also alternate fingers as you tap the notes. Or sometimes the note is available in several places and you can alternate buttons. It all depends on the tune, the note, where you want your fingers to be before and after those repeated notes, where your bellows are, and how you want the tune to sound. So many choices- the glory and torment of the Anglo Concertina!

Sorry, I was thinking of the wrong thread. Try searching for "Reversible Air Lever idea" in the Instrument Construction and Repair forum. I'd link to it, but haven't figured out how🙂

This same issue was discussed about a month ago under the topic "the anglo and arthritis" in the General Concertina Discussion forum (and at least once before that). There were some ideas for making a lever to extend the reach of your thumb.

I have joined in with the musicianers from Cold Barn Morris on many occasions, but my side was Oakville Ale & Sword, who did Long Sword and a bit of Rapper.

I play C/G and G/D, for roughly the same purposes as you- substitute English trad session for Morris, which I don't do anymore (my dancers retired). I swapped some reeds to make my Wheatstone layout G/D the same as my C/G- the modified Jeffries layout that Kensington and Carroll use. Mostly because I didn't like switching between the two. As I use the 3rd row more and more I liking having the same bag of tricks at my disposal on both instruments, and has proved very handy for fast fiddle tunes in A. I find now I use the G/D more now for Irish and Newfoundland trad stuff than I did before.

I was just in the market for a concertina reeded G/D concertina and had some correspondence with Frank Edgley. The starting price for his Heritage model is in the same ball park as a basic Carroll. I asked but wasn't given an estimated waiting period. Dipper's waiting list is years long now. I ended up visiting Dana at Kensington and after playing his personal lower pitched instrument and touring his workshop I ordered one. He thought it would take about a month to build. My C/G is a Carroll, and the Kensington compared very favourably with it in all aspects. I honestly don't think there's a better bang for your buck than a Kensington.

If your main issue is reaching the air button, there were a number of easy, cheap solutions discussed in a previous thread. I'm not clever enough to link to the thread, but if you search for the topic "Reversible Air Lever idea" in the construction and maintenance forum you should find it. You might get lucky and find a 26 button, but I wouldn't buy one sight-unseen. Most of the 26 button instruments I've seen for sale are Joneses. I have one myself- it's a nice box for song accompaniment but not really loud or fast enough for session playing. And the partial 3rd row on mine is off-set from the usual placement, which irritates me when I play it. A 26 button Jeffries would be nice, but wouldn't solve your budget problem.

Unless you run into someone who is feeling altruistic, or doesn't know the value of what they have, your chances of finding a playable 30 button C/G with concertina reeds in that price range are slim to none. I would suggest that you'll need at least another $1000 for a concertina reeded instrument that would be as good or better than a quality accordion reeded box. (maybe a metal ended Lachenal or a used Kensington?) I'd be interested to know what sort of hybrid you are playing now, that you find it limiting. I have a top quality concertina reeded Carroll, and an accordion reeded Morse. I much prefer the sound and dynamic range of the Carroll, but there is not much difference in playability. Have you ever tried the better hybrids like Morse, Edgley, Norman? Used ones come up for sale here at the top of your price range, and I'd be surprised if any of them would hold back your progress.

Yes, I was inspired by an old motorcycle tool roll. I can't remember the weight, but it is about 1/8" thick.

I made this about 10 years ago when I needed to take two instruments as carry-on luggage. Hand-stitched vegetable tanned cowhide with 1" foam padding. Has a carrying strap with quality hardware, and an external pocket (I used it for a digital recorder). It definitely has some patina, but still very sturdy. Approximately 16" (80 cm) long x 8" (40 cm) in diameter. $280 obo plus shipping. SOLD- donation made to concertina.net

Used Morse and Edgley instruments come up for sale here in that price range pretty frequently . ( I just sold a nice Edgley for a friend for $1900). Either would be a much nicer box than the 3 that you are looking at IMHO.

I was mistaken about the number. I found some old paperwork, and double checked the Customs Canada on-line list. Here is the code I have used successfully when shipping to and from US, UK, Italy and South Africa: 9205.90.10.90 Wind musical instruments (for example, keyboard pipe organs, accordions, clarinets, trumpets, bagpipes), other than fairground organs and mechanical street organs. - Brass-wind instruments - Other - 0% payable

I'll be in Washington D.C. over the Easter weekend, staying in the downtown area. Are there any friendly sessions on the go?

No, concertinas are duty free. You can quote the US Harmonized Tariff Code 9205.90.15 There may be some sales tax payable depending on the state you live in, but whether that would be collected or any action would be taken at customs I don't know.

They are not a tack, but rather a smooth pin that goes through the frame into a corresponding hole in the bellows frame. They are held in with a friction fit. I find the pins are easier to deal with than the wood screws that are sometimes used to hold the ends on cheaper instruments. Accordion techs have a special set of pliers to pull these pins, but a set of wire cutting pliers (the type with the jaws perpendicular to the handles) work well if you use them carefully. I gently close the jaws behind the knob of the pin, and pull straight back to draw the pin out. A tack puller can work well too, but you might want to put some masking tape down where you are levering the puller on the frame to protect the finish. Once all the pins are pulled the end should lift off. You don't need to pull them completely out- just far enough to be clear of the interior hole. To get to the levers and buttons you usually have to remove a couple of small wood screws. Typically they are driven at an angle through the edge of the action board into the end frame. Take care with these- it's easy to chew up/strip the screw holes. Then some gentle tugging should pull the action board out of the end frame. You asked about Dave Elliott's book; it's a great resource for maintaining traditional English made instruments, or those built in that style, but of limited use for your type of concertina, since the reeds, action and bellows construction are all quite different.