Steve Mansfield

Musescore will export in musicxml format, and EasyAbc (for one, no doubt other apps will do the same) will import musicxml and convert it to abc for you

RAc has providede good support already, but no don’t use phantom power on your Microvox! If you’re not getting sufficient gain I’d look into your sound card settings first, but also consider getting a USB interface (I use a Focusrite Scarlett Solo with excellent quality results).

A change of bellows direction can be used to give the note a bit more attack or separation from the previous note, so can be used as a driver of the rhythm or pulse of the tune you are playing. As an exercise try playing a piece you already know, but changing bellows direction at the start of every bar. Then try it again changing at every half-bar, then again playing it in one direction for as long as possible and only changing direction when the bellows, rather than the pulse of the music, make you. All of the above are valid ways of playing, the musicality and expression of the music comes from using those effects ina conscious way. When you start to play chords you’ll need to be much more mindful of your bellows to create the sound you want. It will become more intuitive and automatic the more you do it, so you’re not facing a lifetime of consciously monitoring your bellows along with everything else - but it’s back to our old friend practice to getting there ...

Welcome to the forum Ciaran. I got my 50(!) key Wheatstone EC from your Dad a couple of years ago and really enjoyed my morning playing loads of boxes before deciding on the perfect one. Great to see Barleycorn continuing and, when we’re all allowed out again, hope to see you at a festival sometime. Don't worry about putting the occasional general message about the business up, it’s a good way to keep the community informed.

I’m working on a church harmonium-style arrangement of one of our songs on the Morse baritone EC. I might post a sound file when I’m done - though i say it myself, its coming on nicely!

I play chordal accompaniments on my Morse Geordie, and although you have to put some thought into bellows direction I rarely run out of puff. The Geordie also has an air button in place of the top b, which can be useful in ‘leaking’ a bit more air into the bellows - but can also catch you out if you transfer a tune from treble that goes up that far, and instead of a top note you get a breath of air!

Chapeau! That’s really good, thanks for posting. I do like concertina reed trebles playing with accordion reeded baritones ...

PM sent, thank you

Did someone take you up on this or can I buy it off you?

Very very old thread - but has anyone got a copy of Phil Hopkinson’s book that they would be willing to part with, or any idea how to get hold of a copy? My EC chording is stuck in a rut and this sounds like the perfect inspiration!

The book is very well produced, nicely laid out with a very readable music font, and small descriptions of the origin of each tune. Best of all it lies flat on a music stand or desktop so is very easy to use and play from. The tunes are notated with the melody plus chord letters; to be greedy, it might have been nice to have had one or two full concertina parts transcribed as an example. Well worth getting for the dots from Meanders and the definitive version of other tunes of Rob’s, finishing with a few pages of versions or rearrangements of traditional tunes. Excellent stuff.

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

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!

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...

+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.

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!

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.

Works for me - nice video (and nice concertina, is that a Wakker? )

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

Great, thanks Geoff. I was worried it was going off ?

So that’s actually the original colour coming back through, rather than a concertina lurgy?

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!

I’ve nominated CW as well for services to optics, mechanics, and concertinas

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

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 ...