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TomB-R

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About TomB-R

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    Chatty concertinist

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  1. Busy with other things I'd completely forgotten about these, but still have a couple of sets for sale. Price updated to as of now (reduction!) As well as scratch builders they might be of interest to anyone wanting to convert to G/D. Cheers, Tom
  2. I miscalculated what I'd paid for them, hence the price adjustment to £60.
  3. I have some brand new reed sets for sale which may be of interest to scratch builders/converters/restorers. G/D sets of 30 reed plates (accordion type) Wheatstone/Lachenal layout. Voci Armoniche "Tipo a mano avio diat" If you're interested in C/G sets, let me know, I may be ordering some soon. £60 per set including UK VAT @ 20% and postage. VAT may not apply to sales outside the European Union. Donation to c-net from all sales, of course. Any queries, send me a message
  4. Other events, not relevant here, caused me to stop and think and led to the decision to concentrate on fiddle for my melody playing and to try to develop my extremely limited piano skills into something useful for accompaniment/backup. So, sadly, decided to turn my back on the anglo. Can't quite face selling my favourite rosewood 20key yet, but I have listed on Ebay.......... A mahogany steel-reeded 20 key Lachenal anglo in good playing order with some unusual aspects. It has the crucial C# for playing D tunes and also the nearby Bb. It also has the left hand G row G/A reeds reversed
  5. They seem to take concertinas in their stride at Dublin airport security, but wanted to know whether a stringed instrument was a mandolin or a ukulele!
  6. With respect David, in the light of my experience as described above, I'd now disagree. IF someone is willing and moderately able to do the work for themself, a well adjusted brass reeded Tutor Lachenal could give a lot of satisfactory playing for not much money.
  7. Just an update from my original post. After careful consideration of the helpful information above I decided to work from the best sounding reeds on the concertina and see what they told me. In brief, the most important characteristic seemed to be loudness on the tuning bellows. Get the reed loud and "happy" on the tuning bellows, willing to pump air! On a lot of reeds that meant setting them higher than I expected. After adjusting all the reeds on that basis, I was very pleased to find that at last it was a decent playable instrument. There were a couple of reeds that I just couldn't g
  8. Pleased to say that at Dublin airport whey seem quite used to such things!
  9. A fine survey on three cds at a very reasonable price! Lots of great playing in many genres. http://www.angloconcertina.co.uk/
  10. I'm surprised the better qualified haven't come in on this already, Malcolm. I think Theo Gibb had a bit of a photo essay on this on his site a while back, so I think he does this stuff. Shims glued in sawcuts to join cracks shown here http://www.accordionmagic.com/albums/Anglo20/Anglo20.html I fretsawed various pieces to replace missing sections of the fret on my Rosewood Lachenal. I had some offcuts left from a rosewood fingerboard so just a matter of bandsawing and fretsawing etc, (with precautions against potentially nasty dust.) Fortunately there were no areas missing fr
  11. Ah and sorry about that sentence, the fact that I'm not native english speaker makes me write 'weak' english sometimes. I just meant that you would probably sound better at a slower speed on those tunes, as would I. ("as you probably would... if you played the tune slower") :-) Not at all, it made good sense. (No probs at all with your earlier post, a bit defensive on my part.) More generally I will just emphasise that I'm not advocating mindless speed or speed for the sake of it. Lots of Irish music is played too fast, but speed does remain an element. There are plenty of occa
  12. I thought you might have included a link to your own playing there Azalin, but hey. Fair enough, I'm sticking my head above the parapet here and trying not to get defensive. I'd just comment that the Comhaltas clip is running 112/224 and we were going 120/240 because that was what the dancers had asked for. Was it faster than we were comfortable with on a one-take recording for a specific purpose? Yes, but we were having fun. "As you probably would" - no, that was the speed requested. The "Morpeth Rant" clip on the link is a better example of how I prefer to play. That's running a sha
  13. Hi David, how are you? I seem to have "rattled your cage" (again.) It wasn't intentional. Your post goes well beyond anything I said, ("putting words in my mouth" - sound familiar?) You care about the music, so I won't just say "**** off" but will reply positively. I liked and agreed with your original post, and individually appreciated, and generally agreed with the subsequent comments, but I felt that collectively there was a potentially false concensus building that the music "should" be played slowly, and possibly that this is the only "correct" way to play it. I felt a b
  14. He wasn't a concertina player either, but here's what Giraldus Cambrensis wrote about Irish music in 1185, speed is nothing new.... "I find among these people commendable diligence only on musical instruments, on which they are incomparably more skilled than any nation I have seen. Their style is not, as on the British instruments to which we are accustomed, deliberate and solem but quick and lively; nevertheless the sound is smooth and pleasant. It is remarkable that, with such rapid fingerwork, the musical rhythm is maintained and that, by unfailingly disciplined art, the integrity o
  15. All well and good, fair comments all, but moderation in all things, including moderation! This is a fast music, a part of its joy and character is in speed. One of the wonderful things about many Irish tunes is that they work well over such a range of speeds. Well chosen tempo, lovely phrasing and articulation is a great thing, but there's also joy in rattling along at a fine pace. There is Too Fast, but let's not deny one of the fundamentals of this music. Let's also be completely honest with ourselves, and not say "I prefer" to play steadily when one doesn't actually have the c
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