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Steve Mansfield

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About Steve Mansfield

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    Heavyweight Boxer
  • Birthday 07/02/1962

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    Whaley Bridge, Derbyshire

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  1. But if you’ve got a, er, mixed ability set in front of you, do you play to the best dancer, or the worst, or ... I try to aim at the middle. If I get roughly equal complaints that it was too slow and too fast, I reckon I’ve done a good day’s playing
  2. The Eurosession I go to uses dots (although off-piste is not discouraged) as this is a good way to allow people who aren’t that confident with the balfolk and Scandi repertoire to get involved and discover the joys of this music. This can lead to a bit of parallel playing rather than playing together, but usually works quite well. a standard English music session I would hope to work without dots to let the musicians interact with and listen to each other - the joy of a session for me is when the group works as one by listening and reacting to each other, rather than the dreaded parallel playing recital that so often happens. So I’m literally in two minds on thsi one depending on context!
  3. So what are those of us who play both concertina and mouth-blown bagpipes (not simultaneously I hasten to add) meant to make of this? I’ve been told more than once that I look severe whilst playing concertina, I need to cultivate a more serene expression...
  4. +1 for Musicians Insurance Services. Cover includes gigs and theft from a locked vehicle, and although I’ve thankfully never had to claim myself, I’ve heard very good reports from unfortunates who have. To @Little John ‘s point it would take me approx. 40 years of my premium to replace all the instruments I’ve got insured.
  5. I would want to know more about Revrd. Hilier and his ‘playing upon two instruments at once’ ... if that didn’t draw the crowds I don’t know what would!
  6. The Jackie will get you plenty far enough to know if the English concertina is for you and does what you want it to. They are by far the best beginner EC at their price range. You can then make the investment in a better instrument secure in the knowledge that the EC is right for you, and everything you learnt on the Jackie will transfer across to any future instrument.
  7. Works for me - nice video (and nice concertina, is that a Wakker? )
  8. Unfortunately our lot are often quite happy to dance in the rain, which means that either they accompany themselves by singing (which, from experience, nobody wants to hear), or we play in the rain ... we go for the plastic poncho Boil In The Bag look
  9. Great, thanks Geoff. I was worried it was going off 😀
  10. So that’s actually the original colour coming back through, rather than a concertina lurgy?
  11. My treasured 1854 Wheatstone EC has developed an alarming green tinge on some of the leather work; photo attached which tells the story better than a thousand words. Is there anything I can do to stop this happening, and anything I can do to reverse the green that's already developed? I always keep silica gel packs in my concertina cases and I'm not aware that it's got damp (it's not been played outside for example). All advice much appreciated!
  12. I’ve nominated CW as well for services to optics, mechanics, and concertinas
  13. Just as another alternative what about putting a simple A/B switch in the chain? I’ve got a Boss AB2 on my bouzouki which works a treat and is completely silent even without anything plugged into the ‘off’ socket, but there’s loads available. That would make the chain Microvox belt pack >> 1/4 inch cable >> AB pedal >> 1/4 inch cable >> DI box >> xlr >> sound engineer’s gubbins
  14. Thanks for all thoughts so far, & it’s working. @d.elliott I’m mainly doing this on my new Morse baritone so the tuning is pretty spot on: but after seeing your post I tried the same on my Wheatstone treble, and things are, er, a bit more scrobbly up there ...
  15. I’m looking to get much better at using the top octave on my 48 key English for octave-hopping, variety, and because those buttons are there. I guess it’s basically down to practice! But, taking that on board, has anyone got any useful brain tricks or exercises to help my fingers get used to the fact that up there, everything is on the other hand and the other row compared to playing the same notes an octave lower?
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