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Chris Ghent

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About Chris Ghent

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    Heavyweight Boxer

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    http://www.concertina.com.au
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    Blue Mountains NSW

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  1. Rod, much depends on the construction materials and method, you will know when the bellows have given up and decided to behave! I also do not put them under extreme pressure in the clamp immediately, I just slowly tighten the screw a little more every time I walk past.
  2. Don’t underestimate the time needed in compression. I find a couple of days way too short. A month makes more sense, take them out and stretch them every few days. And after they are in service make sure they go back in a good box or have some form of compression when not being used for a year or so.
  3. The idea for my constant pressure tuning device came from Dana, so its a 6” duct fan, in my case speed controlled by nothing more than a domestic 240v lighting dimmer.
  4. Tom, seems I have remembered the psi figures as WC figures so not as much difference as I thought.
  5. Just read your further post Tom, I think a good clearance is closer to 1 thou than 2. I aim for .125 thou. Also, re draught angle, while it is not universal, accordion reeds often have more tapered reeds than concertinas. This increases the gap more quickly as the reed swings down and probably has the same effect as the draught angle in a concertina frame.
  6. I am a world away from any of my gear and figures at the moment but by memory my numbers are wildly different to those quoted here. I like my lower reeds to start in the tuning rig by .11 “ . This figure climbs slowly to around .2 at high pitches. However it may reflect set height as much as anything and is almost certainly related to reed thickness and clearance. My tuning -pressure is 1.6”. This was not by design, it was all the rig could do flat out. I have not found any issue with that -pressure. A few years ago for no good reason I decided to find out the operating -pressure needed in the bellows and drilled a hole directly through a bellows frame and inserted a manometer tube. I was expecting high -pressures but never saw anything more than about .3”. I posted the figures here, so they could be found, it was some time in the last 6 years. This is so different from your figure Tom that it feels one of us must be wrong or we are comparing apples to oranges. As an interesting aside I once decided to try bedding a reed in so it would not need to be tuned so many times before it was ready to be sent off. I left it running in the tuning rig for hours. Over that time it dropped a few cents. I was pleased, thinking I would do it to all the reeds. The next day I somewhat idly put it back in the tuning slot and it had returned to its previous reading. My theory was the drop might be heat related. I know Dana has different results to this.
  7. Start half way along a side next to the unjoined peak and travel over the unjoined peak first, then continue all the way around.
  8. Stephen, if you mean you now do not have a valve at all you will find the reed works OK but it will use a lot of air, so much it will be hard to compensate when playing. Unless it is a very high reed.
  9. The valve that needs replacing is the one beside the reed, not the one behind it.
  10. Good idea about cutting the chamois from the partitions to get it apart. I have found white glue will dissolve white glue but it is not an easy or clean process. Heat certainly softens it.
  11. If you want it to suck in it needs to be thin glue but don’t over do it because it might gum things up inside. If the leak is where there is a tiny gather in the top run at the corner I will work the gather open a little more to allow glue to go in and then hold the gather shut (clothes peg) while the glue goes off
  12. Working a little glue in there will work. If it is an actual leak, putting a little negative pressure into the bellows will suck it into the hole.
  13. Ebony suitable for buttons would be easily obtained from old pianos, which are often thrown out these days. It wouldn’t be my choice for buttons because it is heavy.
  14. The reeds which are making the metallic noise, can you look at them with magnification and backlight? They may be off centre in the frame. While reed frames can be distorted by side pressure enough to foul the reed it has to be an extreme case to foul in a Lachenal anglo as the clearance between reed and frame tends to be large in them. An off centre reed would make it more likely. You might also be able to see witness marks in the reed slot where it has been hitting.
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