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Posts posted by Shayfogs

  1. I agree with Stephen that there was a third D on the draw on the last button of the LH inside row. (Same as Lachenals)

    I too have changed it to a low A by loading it with a dab of solder.

    In addition I have seen an A/D# instead of A/Bflat on the second last button on the LH outside row. Seems like a strange choice but perhaps has something to do with chording. Anyone got views on this?

  2. Having relined the reedpan and adjusted the reeds I still wasn't completely happy with the response. When I  took out the reedpan again to look at it I checked it on a piece of glass to check the leather seals were flush with the surface. They weren't. So I turned it over and noticed a slight rocking, Yes the reedpan was slightly warped. I removed the seals and sanded the top of the reedpan until the rocking ceased. I relined it again and lo and behold the response was so much better. It also explained why the LH side was ok, since it was not warped.

    So my original thought that the radial reedpan affected the sound was incorrect. I'm sorry I misled you all with this supposition. I should have checked for warping in the first instance

    I'd  like to thank you all for your comments which were helpful in their own right. 

    I presume Jeffries didn't stick with the radial reedpan as it was more complicated to make. He tended to favour the more straightforward methods, to save time and cost, Hence the parallell reedpans, the rectangular valves and the strap screws without an insert.

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  3. Hi Dave,

    The reed sizes are normal as far as I can see, The reed chambers esp the RH are smaller in depth being 6mm as opposed to 10mm on the LH. (This is the same as on my 30 key Jeffries) The LH reeds are not more loaded than normal and in fact the ones from E/F down have a good growl to them.

    Are you saying smaller reed chambers in themselves reduce the reed response?

  4. No doubting the quality of John Connor's bellows but they are very heavy and I think do play a part in the sound from my tina. However the biggest factor is the radial layout. I swopped reeds into another Jeffries and they did sound brighter. So the radial layout does have a dampening effect on the sound. On the plus side It does have a nice tone and is very playable.

  5. 451765223_Jeffriesradial2.thumb.jpg.d3c2431aedd81dd2d4f9b36b59f696ba.jpg1597939034_Jeffriesradial3.thumb.jpg.057c1d579ff8202a29bc5e69ff93bef2.jpgHi, I have restored a  C. Jeffires 44 button anglo which unusually, has a radial reedpan. It has a softer sound ie less volume that 

    the usual Jeffries and I wonder is this due to the radial layout. The chamber depths are similar to my Jeffries with a parallel

    layout viz 9mm LH and 6mm RH (excl chamois). The radial chambers  are smaller in area due to their v shape and I wonder is that why the sound is different.

    The reeds are good and react as you'd expect Jeffries reeds to. It has new pads and valves.

    It is noticeable that the lower reeds on the LH from middle E/D down have a proper Jeffries growl.


    I would be glad to receive any views on how does chamber depth and size affect the sound and volume of reeds

    jeffries radial 1.jpg

  6. I had a number of dealings with David over the years when he was at Concertina Spares.

    It is a very beneficial source of concertina supplies which are not readily available.

    Good to see it being continued.

    I can fully concur with the kind thoughts being expressed about David. I met him at Mark Davies' Bradfield

    music weekend and it was obvious that he was a gent.

  7. I have a bone button Jeffries with sycamore action boards. The Jeffries with mahogany action boards I have seen seem to be earlier models. This was probably common in the early days. Did Jeffries work at some stage with Jones? Or did he order tinas from Jones as he appears to have done with Crabb and added his own reeds? His early wooden ended tinas certainly look like Jones and I think mahogany action boards were used in the latter. I'm not sure but perhaps mahogany cracks easier than sycamore and this lead to a change in the material used.




  8. Packie Russell played a 44 key C. Jeffries. It was held for some years in a glass case on the wall in O'Connors pub in Doolin where Packie played regularly. It was in the old section where the sessions used to be held before the pub was extended. I was told O'Connors actually bought the convertina for Packie but do not know where it is now. When I saw it it needed a bit of tuning and some renovation eg pads, valves etc.

  9. There's a market for Jeffries duets in Ireland? Interesting!

    Sadly, the only ones I've seen here have been converted to Anglos! :(


    I bought a Jeffries Duet on e bay last year. It was 55 key, old gold tooling and in C. Pretty well in tune too. Reeds in great condition. It was stamped C Jeffries, so they were being made before jeffries Bros started. Anyway I tried it a bit and figured out a bit of melody but there was no way I could play it even as an anglo never mind a Duet I thought of converting it but met with Michael Hebbert who was on a visit to Dublin and showed it to him. I decided to pass it on to him as it would have been a shame to alter such a fine box. Well it could not be in better hands now. Long may you continue to play great music on it Michael.


    I have an Edeo with a number 88071on both pans and again on the underneath of the (mahogony) action board.. Having looked at the dates shown here I double checked to see if it was 58071. But no, it is indeed 88071 so where does that leave us?


    I have seen one Edeophone which had riveted action, and I'm told this may have been assembled by Wheatstone from parts acquired after the demise of Lachenal. Perhaps Wheatstone use 8xxxx numbers for these Wheatstone assembled Edeophones??

    I've got an Edeo 56 key extended treble s/n 43*** with riveted action.

    My Edeo is 5F bellows and Lachenal levers. I checked again as I have doubts about the 88701 No. It could be in fact 38071. What date would that be then?

    I too had damaged ends and got new ones made by Jurgen Suttner who did a fine job. The bellows is shot so I am having a new one made by Colin Dipper. That should make it a fine instrument and will give me the incentive to play a bit on the English system as I am an Anglo player of Irish music.

  11. RE: Chris Drinkwater's Edeophone #58856. Actually, it appears to date from the early 1920s--probably in 1922. Relative to many other Lacehnal concertinas, a fairly accurate estimate is faciliated by two Lachenal bills of sale--(1) a bill of sale, showing that "Mr. A. E. Perkins" purchased both #58885 (56 Key) and #58887 (48-key Edeophone with bowing valves) on July 10, 1923 and (2) a bill of sale, showing the purchase of #59086 (56-key Edeophone) on April 2, 1923. Thus, it appears that Mr. Perkins's concertinas were made in 1922 and held in inventory for several months.

    During the 1923-1930 period, it appears that Lachenal made about 1,000 English concertinas, or about 125 instruments per year on average. A bill of sale dated 19 September 1930 was for Edeophone #60263.


    I have an Edeo with a number 88071on both pans and again on the underneath of the (mahogony) action board.. Having looked at the dates shown here I double checked to see if it was 58071. But no, it is indeed 88071 so where does that leave us?

  12. I was just looking at Bob Tedrow's website and saw a picture of him holding a pencil in his left hand. So he is either left-handed or ambidextrous. I am left-handed as well. Are they other Left-Handed Concertina players out there? If so, do you find it harder to play the melody on the right side?




    There is a very fine Irish Anglo player called Paddy Hayes who plays left handed. He just turns the tina upside down! It seems impossible to play like that for anyone who plays in the standard way but I suppose it proves you can adapt to anything

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