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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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    Male
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    Blue Mountains NSW

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  1. It was the straight rows I was seeing as the truly unusual feature. As George Bolliger pointed out (he showed it to me) when you play it you don’t feel anything different to curved rows. I can’t remember seeing bellows papers and for that reason I don’t believe there are any. I can ring George and ask if anyone really needs to know. Malcolm (Hi Malcolm!), the hexagon is regular. Bill, it is a regular anglo. It was interesting seeing reeds that you know are definitely Class C. Their clearances were good but not great. There was no obvious (to me) geometry differences. The reeds were on the thinner side. There is another unusual aspect to the concertina and I should probably have shown it. Here it is..! (I realise now you can see there are no bellows papers in this shot)
  2. PS, I’m not talking about the ridges in the tops of the buttons, which I think are an attempt to make the buttons less slippery in the heat.
  3. I am picking the words in the column where the model number usually are ”Clas C” and mean Class C reeds. It then says “AG” (Anglo, right?), “large model, 37 keys”, and then what? Solid bel? Does it mean beefier anglo bellows? And large model is very imprecise. The instrument is very unusual. It is a 6 1/2” Linota anglo in G/D ( used to be Af/Ef). But there is something else very unusual about it. I won’t point it out, can you spot it..?
  4. If you can keep a Brit bike on the road over a long period you can handle anything in a concertina. Patience is the key.
  5. If you use a 60° engraving cutter with corner sharpening turned on you can engrave your way right through using several passes and end up with a pleasing result in a metal end.
  6. Alex, I have detailed pictures from a 5” 30key Lachenal C/G owned by Greg Jowaisas. The most interesting thing about the action is the shape of the pads; to crowd all 30 in they need to be small so they made them square sided rather than round to increase the area. The reeds are also, if I recollect rightly, a shorter scale. I have done some work drawing up a similar instrument but until there are more than 24 hrs in the day etc...
  7. If you are worried about a single spring and you can feel the difference just bend the top run of the spring up a little to make it stiffer. Not a sharp bend. Feel it again and adjust accordingly. Note that brass springs do not have a very long life compared to some other materials and the offending spring may be giving up. If it breaks, order a new one and in the meantime shift one from a little used key and put tape across the underside of the springless pad hole so it doesn’t leak while you are waiting.
  8. Not mentioned so far; make the clearance between reed and frame wider. Yes, it costs air but should be quieter. Also I would endorse using a larger draught angle.
  9. When you do up the screws on a reed clamp you always have to flatten the underside frame because the screws pull the sides up. When I have a reed with slightly less performance I always check the underside for flatness. A curve there = a leak.
  10. Some (excellent) modern makers use parallel reeds but this may be related to methods of construction rather than tone or response. Some time ago I measured the difference in surface area of a parallel reed compared with a typical tapered reed, can’t remember the pitch, and the parallel was 3% larger. Not enough to make a signal difference, I thought. It does mean a low reed can be a little less thick at the tip but so what? Of course, it will need to also be thinner in the belly. A high reed will need to be thinner at the tip, mmm, could be meaningful. For the same degree of taper in the reed window relief the tapered reed will lose pressure earlier. Also could be meaningful?
  11. My reed organ has at least three different profile types. One is similar to the diagram above (which I once found replicated in a 50s Wheatstone out of Africa, it really sped up when I normalised them), another had a profound twist of the tip, and the others are more conventional. My understanding is these were ways in which the manufacturers tried to create different tones so as to be able to pull out another stop and change the sound of the instrument. My Estey has 17 stops. So it was done for tone. The loss of performance inherent in the reeds pictured above does not matter as much in an instrument which is pedaled, there is almost always enough air. My opinion (similar to Johann's) about how the above reeds would change tone would be; on the way down the point of close contact between reed and frame would be in two places, one point each side of the highest point and when the highest point was reached there would be a sudden rush of increased higher partials, which happen as the reed passes through the frame. On the way back up the increased partials would happen first. This means the up and down swings would have dynamic and different characteristics, leading to a different tone.
  12. 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.
  13. 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.
  14. 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.
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