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Bill N

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Everything posted by Bill N

  1. Not able to post a video, but here's a sound file. Recorded on the fly with a Zoom H2n. Edgley demo.MP3
  2. I am selling this for an elderly friend who is downsizing. She only used it for song accompaniment, and it is in immaculate condition. This is Frank Edgley's top quality hybrid model with angled reed pans. It's tuned C/G with the 3rd row in the Jeffries layout (C# on both push and pull) so ideal for Irish Trad tunes. It is nicely air tight, and the action is smooth, light and fast. The reeds respond quickly and evenly from low to high, and there is nice balance between the ends. It's a fast and lively player with good dynamic range from soft to loud, and would be excellent for sessions. Barb has small hands, and the straps are trimmed as such. I have a new set coming from Frank, and will include them. The only negative is that it does not come with a hard case, so I have reduced the price accordingly. A soft case is included, and it will be well packed for shipping. $1900 obo plus postage.
  3. I play Irish, Newfoundland and English polkas on my Anglo, but if you are thinking of the Eastern European variety a Chemnitzer concertina is the traditional type to play. There are a few people on this forum that know about that type of instrument, but most of the discussion here is about Anglo, English and the various types of Duett concertinas.
  4. Just a few tips for removing the ends- once you've loosened the 6 end screws out of the bellows frame the end should come off. To get access to the button side of the action board you'll probably have to unscrew 2 tiny wood screws that are driven in to the action box frame at about a 45 degree angle at a couple of spots around the edge of the action board. When you put it all back together be careful not to over tighten anything. These things are cheaply made, the wood is soft, and they're not really intended to be assembled/reassembled very much. It's easy to strip the holes the screws go into.
  5. A 10 button melodeon (cordeen in Newfoundland) would be the most direct application of your harmonica skills. I also was a long time harp player before I picked up a concertina, so at first a 20 button Anglo was an easy transition. Really just 2 harps strapped to a bellows. But when you add a 3rd row and start to take advantage of the duplicates and reversals and accidentals (to play in other than the home keys) by playing "across the rows", rather than up and down one row like a harmonica, it quickly becomes a very different proposition.
  6. I third the motion. I bought one of his instruments sight unseen from someone in Italy (I'm in Canada). Doing my due diligence I contacted Dana to confirm that the vendor was the original owner as claimed. Dana confirmed it, and offered to give it an overhaul for the cost of postage. He also said he'd buy it back for what I payed if I didn't like it. And he swapped the too-small hand bars for a larger set. Every interaction with him has been a pleasure. A Prince among men!
  7. You might get some responses if you post this question in the "Instrument Construction and Repairs" forum and include a photo. This forum is for technical questions about the website (e.g. how do I post a picture?) and doesn't get a lot of traffic. An indication of your general location would help too, as concertina repair shops are rare and widely scattered.
  8. I really enjoyed attending the Swaledale Squeeze when I was starting out as a player. Held annually in May at Grinton Lodge near Reeth, in the Yorkshire Dales. There were wonderful classes and workshops, Barleycorn Concertinas had a stall there, and there were friendly players of every type of concertina. The scenery, cask ale from a local brewery and a ceili dance in the village hall in Reeth were icing on the cake.
  9. Hi Jody- I have a Microvox system that I no longer use. All working as far as I know. 2 pairs of microphones- 1 pair on gooseneck clips and 1 pair that attach with Velcro, plus cables, mini power supply, balanced output unit and muting DI box Are you interested in any/all of this?
  10. I would echo Wally's comments and add that mid-level to top flight concertinas all hold their value really well. If you can afford the up-front cost, buy a good new or used hybrid like a Morse or Edgley, (often to be found on the buy and sell forum here). The ease with which these can be played relative to a cheap instrument will give you a real leg up on your learning. If you decide after a while that it's not for you, you will know that the decision was made for solid reasons like aptitude and enjoyment, not as a result of equipment related frustration. And you should be able to sell it on for pretty close to what you paid for it. You might lose a few hundred dollars on the transaction, but the same would be true if you bought a new Chinese or Italian concertina for $600, then tried to sell it on.
  11. Just noticed a video of a South African band in a new thread by Fred V: "Boeremusiek!!" I'm pretty sure the concertinist is playing a box by the same maker as mine.
  12. I had a 20 button D/A built for me a few years ago by a maker in South Africa who builds them for a Boer Music club there. It's a double reeded box on the German model- but made with much better materials, reeds and craftsmanship. It cost me around Can$600 plus postage. If you're interested I can probably dig up the contact info for you. Coincidentally I got it to play in Newfoundland when I'm there in the summer. I'm in Hamilton the rest of the year- if you are nearby you're welcome to have a look and squeeze. mariposa.mp4
  13. Is this a common button layout for a 40 key Anglo?
  14. I just received a package of parts from them last week. Maybe they are on vacation? Anyways, you won't regret a Morse. A lot of different concertinas have passed through my hands, but the one I have hung on to since I first started playing 14 years ago is my G/D Morse. It plays like butter. I wouldn't worry too much about the layout modifications (if they were in fact done by someone other than the manufacturer- my Morse has a custom layout that they did at my request.) Because the reeds aren't slotted into a dovetail it's unlikely that any damage was done in the reed swap.
  15. Local demand can factor in as well. I live in Ontario, Canada for most of the year, where very few folks play diatonic button accordion. People know I have an interest, and often give me instruments, or I pick them up cheaply at yard sales, pawn shops etc. I take them with me to Newfoundland where I spend my summers, and put them on consignment at O'Brien's Music in St. John's. There is a real accordion culture here, and the profit I make usually pays for my gas and ferry passage. Plus unwanted accordions find a good home. To the OP's point, even in the sellers' market here in Newfoundland, you can get a very nice, very playable used 1 or 2 row "cordeen" (as they call them here) for $700-800.
  16. I had a similar problem in a big, loud session. Everyone was playing acoustically, but lots of instruments, including a loud piano accordion. I tried an inexpensive VOX guitar headphone amp. It's a tiny unit-about the size of a small match box. I used it with my Microvox mikes and a single earbud. It really wasn't very helpful, and all the wires, Microvox power supply unit, etc. were cumbersome. I've seen very expensive wireless in-ear monitor systems that might work, but I didn't try that route. What worked better was getting to the session early enough to stake out a spot with my back against the wall (preferably in the angle of a corner). Also, at some outdoor Covid sessions I wore a broad brimmed hat, which really helped. (I'm too polite to wear a hat in the pub). I occasionally use the Vox unit when I'm on my own just for fun, as you can listen to your own playing with special effects e.g. reverb. No one else can hear the effects though!
  17. If the end plate is flat (ie no raised areas) I would be inclined to try pressing it between some hardwood boards that cover the whole end and some C-clamps. I looked at the Marcus website, and can't really tell from the photos if the have raised areas.
  18. I have a Jones Bb/F that is early identical to the Jones G/D you just sold. Not super loud, but nice steel reeds, good action and bellows. I need to do a few little tweaks- there are a couple of weak springs and a valve that needs replacing, but overall it is a good player. I can send you photos and a sound file if you are interested.
  19. I would say that it's important that they aren't too snug. I remember wanting them tight when I started playing, as my fingers didn't know their way around the buttons very well, and it felt good to have the security of at least one "fixed point" in the whole system. But as I started to use the whole key board and develop good muscle memory I found it was important to be able to easily pivot the hands in the straps without constraint. I set my straps so that I can make an arch, with the sides of my palm touching the hand bar, and the high part of the palm arch maybe 1/ 2 inch/12 mm from the bar. I keep things secure by arching my palm while I play and/or squeezing the strap between the thumb and the fleshy part at the base of the forefinger. I can't give you specifics on how much arching/squeezing to do, or when- it depends on where your fingers are headed, and after a while it becomes second nature.
  20. I don't have one at the moment (all out on loan), but I often take a Rochelle or cheap German concertina with me on canoe trips. We had a lake to ourselves one evening, and I got the loons answering back to my playing.
  21. I can barely read music, and certainly can't sight-read, but sometimes use the dots to give me a starting place for a complicated tune that I don't know well. Especially if it's in an unusual key or contains accidentals. However, with the Anglo one often has several choices of where to find the note that's written down, and one's choice will greatly effect ease of play, character of the tune, etc. I always end up doing a lot of experimentation to find the best combination of button choice and push/pull after I've glanced at the dots.
  22. My G/D is a Morse. I've been playing it hard for Morris, Contra, sessions and performances for 12 years and it has been absolutely bomb-proof. It is very light. The action and reed response are quick, and I personally like the sound of the hybrid reeds in a G/D box. (I had a Morse C/G for a while and didn't like its tone as much) I owned a Kensington C/G which was a delight to play, and Dana was a pleasure to deal with ( I bought it used from a 3rd party, but Dana offered a tune-up for the cost of postage!). Even though it was a later, lighter model, it was still considerably heavier than the Morse. I currently own a Carroll C/G- also a dream to play, and a wonderful tone. Noticeably heavier than the Morse. Like Dana, Wally has been great. Just weighed the two: Morse G/D: 1037 g (2 lbs 4.6 oz) Carroll C/G 1180 g (2 lbs 9.7 oz) note- a G/D might be slightly heavier due to larger reeds
  23. Hi Brian- They are in octaves, not chords. Have you seen this video?
  24. A used Kensington was my first "real" concertina, and my experience with Dana was exactly as you described. A first rate instrument, and a first rate human. In my opinion, the Kensington is the best value out there for a traditionally reeded concertina. BTW, what is the name of the tune?
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