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Chris Ghent

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  1. This looks like a very easy fix if you are used to working with metal. I doubt it is steel, if it was then the force needed to bend it would be an event you would definitely have noticed. If it is nickel copper ( sometimes called German Silver and often used in ends) it is very soft and could be bent back by hand but my weapon of choice would be a dead blow hammer.
  2. I retuned the D# to a draw E but found when I wanted to use it in a sequence the finger I needed was often already in use for the note before or the note after. In the end I put an extra reversed F/E button on the right hand side at the top of the C row. (F because I already have a low F# on the push instead of one of the RHS D#s.) The issue with a thumb button for melody on the left for me would be that my thumb is actively holding the concertina down on to my thigh. If you are not doing that then I don’t see why not. But reverse engineering a thumb button into an instrument without one would be major work. The reason some roll/crans are easier to make sound crisp on the pull is the pad is being sucked shut. On the push it is having to rely on spring pressure against the air flow and the result is less precise.
  3. The material the end is made from will make no difference as the potential warping is in the reed pan and pad board. As far as the sawdust goes, you have misunderstood the use of it.
  4. Sadly it seems Sean died yesterday or the day before...
  5. Simple ABC systems are OK for simple music. The Irish system (all capitals, comma after the letter for lower octave, no punctuation for middle octave, apostrophe after for high octave) can be sight read at speed by people bought up in that system. ABC Notation can handle very complex music; here's a couple of lines in a tune I transcribed recently for a friend in a different country. She put the script into the aforementioned mandolin tab site to read and print it. The question mark was a note I couldn't pick! ({c}[DAd]2{f}[ADd])A ([DAd]2{f}[ADd])A|([CGc]2{e}[CGc])A ([CGc]2{e}[CGc])A|([DAd]2{f}[ADd]) ([DAd]2{f}[ADd])|[Ae]"?"([Aea][Aea][Aeg][Ae])ed{e}d| [DAd]edA [DAd]edA|([CGc][CGe][CGc])A ([CGc][CGe][CGc])A|GA[Gc]d (3ege dc|{B}Ac{c}GA ED{A}DD|
  6. When the instrument is not loud or fast it is tempting to push and pull harder to be able keep up and to hear yourself. Cheaper accordion reeded instruments and old Lachenals suffer from this in a session environment. Try playing at home for the same length of time and don’t push the speed or volume and see how wrung out you feel. A good instrument takes very little pressure to make a lot of noise.
  7. Not likely to resolve itself. Most likely quick reasons are either a valve pulled into the slot or more likely, something fouling the reed. As David says the frame could be loose but this is usually accompanied by symptoms such as a clattering as the frame moves in the slot, which you don’t mention.
  8. Take your finger off the button and put it back on for the new note in the other direction. If it is a valve issue that will usually quiet it.
  9. I get all of the lightening but try as I might I can’t think of a single reason why being able to touch the end plate when the key is down is a good thing. I see it as a problem and have put much effort into making sure it no longer happens for a couple of concertina owners. I have a Jeffries G/D of my own waiting for that very fix; I am going to make it a new set of longer metal buttons. Is it because you have owned an earlier instrument with this problem and became used to it? I can see it might tell you when the button is approaching fully down but this is something the fingers will learn anyway. I find you have to push harder to reach the fully down position because you have to flatten your finger tip. The act of lifting the finger then becomes a greater act. Maybe I’ve missed something.
  10. This is an excellent method. It also aids in finding pads which move sideways a little when the end is put on because the lever is not perfectly above the button spigot hole.
  11. They would also have been pressing other items depending on the period; levers, posts, clamps etc. I would think there would be a toolmaker swapping diesets and doing maintenance on them.
  12. Jake, I think I read in a description of Lachenal’s factory, no idea where I saw it or in which period, that they had a row of 17 fly presses. This was part of a reference to a person who had worked for them for a long time as a fly press operator. He would have had one big arm!
  13. Sorry, was a little unclear, I push all the way through. The marking is just to check it is lined up. The success rate is around 90%, when I was using the punch hand held it was much lower.
  14. i agree with the drill first/punch later method. One extra move; I put the punch in the quill of my drill press (I don’t turn the drill on!) and this keeps the punch parallel to the drilled hole. I find if I gently bring the punch down it will make a faint impression on the leather and I can then adjust if it is not concentric with the drilled hole.
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