Stefan

Merry Christmas everyone! I have a special Lachenal New Model, Maccann 55 buttons, serial No. 2607 Eventhough it has 55 buttons and is relatively small (see pictures) the right hand side goes down to C instead of the usual G. So it has almost the range of my 57 Wheatsone Aeola. I have never seen another one like this. Now, as you can see from the pictures, on the inside of the left action there is a stamp and a badge of the well known J.J. Vickers, but it has been crossed out with a pencil. Do you have any idea why someone would do that? Do you think the Concertina is in its original state or maybe it was changed?

I asked Rob about the wearing out of the bellows at the German concertina meeting. He said he never had a problem with that. I really suspect that the wearing out is a myth. I might be wrong..... Of course, it depends on what you do with the concertina on the knee, how hard you play etc. Is anyone here who actually has worn out bellows in that way?

In this interview, Mary MacNamara talks about her foot tapping (around minute 23): https://tunesfromdoolin.buzzsprout.com/1841055/11279447-episode-05-mary-macnamara-concertina

Rob Harbron rests the middle of the bellows on his leg and taps the foot. This is good for bellows control and the tap enhances his rythm. I learned it from him and do it ever since. https://robharbron.com/teaching

Not a Concertina, but maybe if you cut the keyboards in half? https://youtu.be/EBCYvoC4muc

Rob Harbron often plays the English Concertina in Anglo style, sometimes changing bellows direction on every note. I find the results very nice, it sounds lively to me and adds to the rythm.

I described my setup here: https://www.concertina.net/forums/index.php?/topic/19119-microphone-recommendations-please/&do=findComment&comment=180579 There is a photo underneath it. I run them into a mixer with phantom power.

There ARE feedback problems and it took me a lot of time to fine tune my stuff to avoid it. Just last night I had problems with the feedback. Some effects that I use have less problems than others, equalizing is important, the stage and monitor volume can't be too loud, the mics I use have almost no bass range. And it helps that the mics are very close to the reeds so they don't need too much pre amplifying.

I'm glad that you like it, thank you Chris and Jim. But I am also aware that it's not everybody's taste and that's totally ok. Last night I played in a rock-club and it was very successful. https://m.facebook.com/story.php?story_fbid=7205430749482048&id=100000455832528&sfnsn=scwspmo

There are two small microphones under my palms, one left one right. They go into a guitar multi effect board that has two separate effect strings. So I can use different effects for the left and right side.

Old Concertina, new boots

Yes Geoff, it´s from 1916 and I am still greatful that you gave it to me. It plays and sounds like a dream. And yes, I take good care of it. Do you know where Alex West got it from? He is a member here, maybe I can ask him. If Concertinas could talk....

There is a workshop available that I can highly recommend. It’s for EC but works for my Duet just as well. Rob Harbron: „A 1h45m workshop, originally delivered live on Zoom, where I discuss and demonstrate the thought process and techniques I use in creating a solo setting of a traditional or self-composed tune - including articulation, use of the bellows, and most importantly harmony.“ It costs 12 Pounds and you get a YouTube link and access to sheets and music. You can watch the workshop as often as you like, which I think is great. You also can support a musician in these times. Maybe some other teachers could do workshops like this one? Here is the link: https://robharbron.com/teaching

Ups, now I get it. Probably have to get my glasses adjusted. Thank you.

Thank you John and Wolf. Yes, the book is downloadable for free (as PDF), but the CD seems not available anymore.