saguaro_squeezer

It was me and thanks, although those should go to Theo for having it avaiable. I'll measure it but I'm sure that it's at least 10 inches. The only real issue that I'm having with it at the moment is that with Crane, your 4th finger use is dependent on the key where on Maccann, it feels like it's going to be used much more often.

I started my concertina journey with EC but switched to Crane after a few months. I've never regretted that move, except that i struggle with both hands at the same time. I recently started on Anglo and (after much poking at Dirge before I knew better ...) Maccann. It's probably just to see if I can learn multiple systems ... but it's easier now than when I started on EC and wanted to switch to Crane. My Crabb Maccann is going to be a challenge, but how wonderful to have all those notes to use!

To me, that Anglo 'oomph' is the same as on a melodeon, it's a result of the bisonic nature of the instrument. You use that bellows change to your advantage. On Duet, the goal is more continuous air pressure since it is unisonic. You can still do bellows changes for emphasis, if you want .. that's your choice. But does one sound 'better'? That would be a good question to have in a pub, I think. Sort of like any other comparison question ... I will say that I like the sound of all of my concertinas, but like us, they all have their individual voices. And 35-key Lachenals are a blast to play!

Hi Wolf, I seem to remember a thread where the spacing was measured. To me, playing the two, the chevron feels a bit closer but my fingers don't seem to miss the outer rows as easily. That said, I can't do some of the finger crossings that I use to make the 4th jumps smoother (same key, up one row, e.g., G to C). It's probably just me but I jump between the two and notice it for now.

But they make exquisite Cranes. Though, I'm about to receive a big Crabb Maccann, which I'm given to understand is quite rare, only 60 or so ever made!

Wolf, I get it often enough since I live in the desert SW of the US. There's always a bit of adjustment when a concertina comes over and dries out a bit. Depending on the quality, sometimes only one reed. The 50s Wheatstone 1T that I just bought has had most of the adjustments ... but it weighs very little so I expect that the wood is lighter.

I get that noise when the reed frame is under pressure.

noviceanglo, sent you a PM

Get the S/N and ping Geoff. How good is it to have the source at hand?

Hi Dan. Thanks. But I'm really looking for a Wheatstone. I've just acquired a Wheatstone Model 1T which is a 48 but might fit the bill. It does fall into the "cheap and cheerful" category though.

Well, then I’m really lucky to have purchased a 79-key Crabb Maccann. My C2 LH dreams have been fulfilled!

Little John, both are nicely done. I wasn't aware that Dipper made a Crane. I'm new to the alternate tunings universe of concertinas but wonder if, being so used to equal temperament tuning, we perceive comma mean tone as somehow lacking? For example, the "sweetness" that some ascribe to common mean tone seems to make certain of the higher notes sound like they are carrying as well or get lost in too big a chord. I have a Tedrow "Harley" Anglo that is tuned in quarter comma meantone and am trying to get a handle on why that is. That said, well done on the playing ... I'm still trying to determine if I want to stray from equal temperament!

So, today (Sep 19) is 'Talk Like a Pirate' Day. I suggest you pull out your copy of Gary's book and sing like one too!

I do wish that he'd done the Toccata Adagio and Fugue in C, BVW564.

inrhearts, here is a link for St. Cloud - https://sites.google.com/site/stcloudconcertinaservice/