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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. 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.
  2. The valve that needs replacing is the one beside the reed, not the one behind it.
  3. 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.
  4. 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
  5. 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.
  6. 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.
  7. 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.
  8. Dave, because tuning is relative outside the instrument it seems not to matter if you are tuning to the initiation pitch or the steady state pitch as long as you get the reading at the same point. With twanging and an electronic tuner you do only get a momentary reading, but presumably it occurs fairly consistently at the same stage in the cycle as it is easy to reproduce the pitch by twanging again and also easy to alter it by tuning. I don’t want to sound as if I’m advocating people do tuning jobs by plucking. Just saying it can be done. And when making a reed by hand from scratch it is the only practical method of gauging the point in the process at which putting the reed into the frame for final tuning is desirable. When I do this I always expect a shift in the pitch because it is difficult to hold the reed while tuning it in exactly the same place as the clamp will hold it. The pitch will drop if the reed is clamped further from the tip and raise if it is closer and a few thou makes a lot of difference. I see the biggest issue with twang-tuning as getting enough amplitude for the microphone and with the mic I use I tend to make contact between the reed holder and the mic as it seems to work more consistently. I also give it a very big pluck. I wonder if a contact tuner might be better for a reed in a frame? I’ll try it when I get home. I’m a long way from home right now and much of my gear is packed and stored 50 kms away as a precaution against losing it in a bushfire while I’m here. My house is surrounded by enormous fires at the moment. The one to the north is 15 kms away and bigger than Greater London, the one a similar distance to the south is only a third of that. Hoping for easterly and westerly winds only until the rains come in a few months time.
  9. Twanging consistency is not a pitch issue, you just need to get a long and loud enough twang for your tuner to register. The mic from the tuner needs to be very close, close enough to interfere with your pluck; touching the frame on the tuner may help. Once you get the pluck movement right you get repeatable results. There are much easier methods of tuning!
  10. I wouldn’t dismiss twanging, you can get good at it and it is used in the profiling process when making a reed by hand. The issue is developing a consistent twang. If you have the reedplate off you could try blowing through them. In order to not rust the reeds afterwards you need to suck rather than blow so make sure they are clean first.
  11. Things to investigate include; a missing cloth bushing in the button where the lever passes through it, a missing bush under the button, and wear in the joint between lever and post. As Alex says, that discrepancy in the lad is not your noise.
  12. Quite right Dave, I omitted the time element.
  13. I have found a couple of instruments with buttons protruding further than they should, to the point the spigot at the bottom was coming out of the actionboard guide hole. In both cases the post was coming out of the actionboard because a safety pin had been used as a replacement spring. If it is stronger than the springs around it, fine, play the gig, but replace it as soon as possible. You can also use the spring from a key you never use and put tape under the padhole from the key that now has no spring so it doesn’t leak while you source another spring.
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