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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. People with few resources who managed to keep instruments playing despite the odds always have my respect. I have seen a few things like this from South Africa, though maybe that is just the 8 fold bellows leading me astray.
  2. Even if there was such a thing as a standard Lachenal reedpan, unless the newer instrument was a direct copy of the Lachenal you got the reedpans from, you would need to remake the action as well. Would it be possible to move as many reeds as possible to more correct positions and get the original maker to remake the missing ones? Or perhaps a reedmaker who does repairs could do it.
  3. I know him well, he lives in Sydney, Australia. I’ll draw his attention to this thread but I’m not sure whether he will respond.
  4. There is no reason I can think of why either reed type should go out of tune more quickly than the other.
  5. 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)
  6. 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.
  7. 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..?
  8. 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.
  9. 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.
  10. 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...
  11. 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.
  12. 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.
  13. 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.
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