ragtimer

Hi LDT Are you volunteering? When can you start? The original video was removed from YouTube, but it's still available in the US if you search Google for: "Meryl Streep Concertina". I don't know about Europe. There is another short clip that showed up today on YouTube, but I don't know how long it will last: Meryl Streep learning to play her concertina THis is great, but I see Meryl is wearing the same clothes as on the Tonite Show. Was this some coaching given to her backstage just before going on the air? SHucks, I thought she'd worked on it a little at home. At least she foudn a button that sounds a perfect 4th apart between push and pull for the Siren Song. It still worked for me as of this posting's time and date. --Mike K.

Thanks for the link -- Meryl was always my favorite actress anyway. And she's got a Stagi 20-button -- sounds like a D/G, maybe octave reeded. I hope she actually learns to play it a bit, not just SIren Song (you gotta watch teh clip to see what I mean). Anyway, it's good to see our fave instrument on national TV. --Mike K.

I play rags and marches and some of my own compositions, but I've tried a little of everything. Pretty well sums up my attitude. Being a Duet player, I had hardly any preconceived notions of what to play or not, so I go with what I like. --Mike K.

Probably has to do with quantity, or rather lack of same. If concertina reeds were made in quantities that accordion reeds are (or were), they could be made a lot cheaper. Mass-produced action parts would bring down costs too. If you don't believe it, look at how affordable pianos were in their heyday. But still, numerically computer controleld machining should be cost effective evven in small batches, so I'm not entirely satisfied with my answer. FWIW, Rich Morse was interested in applying modern techniques to making his own high quality reeds, but sadly he didn't live to see it. --Mike K.

I think you're on to something there, Jim (not to be confused with being on something ). As soonas I red your posting, I grabbed my Elise and sure enough, I realized that the loose strap (really needs another hole in it) is really the fact that the handrest bar is too low. I feel that my fingers could reach farther and feel better if more elevated. I measured my Stagi Hayden bar's height at 25 mm, but the Elise's only 20 or less. I may try shimming the bar up with a flat piece of MDF underneath it, rather than a half-dowel on top (tho you sure did a neat job there). That would take care of the strap issue too. Re dis- and re-assembly: I've always been careful not to take both ends off at the same time, and use one end to align the other. But jsut in case, I've made some magic marker marks inside the bellows end and hte end pieces. Gee, now we have to discus palm bar height options with Bob Tedrow? --Mike K.

OK, so you can't use a synth box, you need a PC, with some sort of "soft synth" program (like the stock MS program that comes with WIndows), but modified to take input from USB. I've heard of folks using such hardware and software -- it seems to be displacing real MIDI. And you're stuck with the sound chips on the laptop or netbook -- tho thru headphones the sound may be OK, and you can always plug in big amplified speakers at home. Well, thanks We Haydenists do liek our system a lot, and welcome someone who's seriously trying a "prone" keyboard. OK -- the Axis seems oriented towards straight 1-3-5 chords. Easiest on Hayden also, tho 6-4 is easy. Tho it's tougher to put the 3rd on the bottom, it can be done. Nice. But I meant, How much work is it to prepare the Hayden button-to-note mapping table? What facilities are provided to let the user edit and reload such tables? Sounds possible in Linux, difficult under WIndows, don't even daydream of it under MacOS. --Mike K.

Was the conversion from native to Hayden done just by changing a software table, or did it require some reprogramming of the device, via the USB port? What is involved in doing that? From the web pages, I assume that playing is done via a MIDI conncetion, to a keyboard or synth box, using a standard 5-pin "smiley" MIDI cable. Right? You mention a way to use a PC as a synth box -- is that via the USB interface? Do you want buddies using its native system, or Hayden players? I play Hayden Duet, so natch I would want to reprogram it *sometimes* to play that way. However, the native scheme is really cool -- major chords with one finger in the right corner! This would make a terrific chord generator for rhythm,backup work. So, is it easy to reprogram it back and forth between Hayden and Axis modes? --Mike K.

Not just a bump, but to get "Elise" into the keyword mix, in case anyone with the Elise Hayden is looking for help. It's the latest addition to the Jackie/Rochelle family. I haven't opened my Elise up yet, but may soon, to work on some rubbing friciton in the buttons. Other than that, she plays great. --Mike K.

I don't have that many concertina CDs (yet), maybe four, but now that this thread has surfaced, my favorite for background listening or inspiration would be Jody Kruskal's Naked Concertina album. A "Duet" approach to arranging for the Anglo. --Mike K.

Odd -- when I ordered Jody's "Naked COncertina" album back when it came out, CD Baby sent me confirming email within a day, and I had the disk within a week -- same as Amazon or whoever. I hope their service isn't slipping. --Mike K.

Thanks, David. Yes, I know about Chemnitzers and have read about the "concertina clubs" in CHicago and Milwaukee wher folks go to dance to bands based around chemnitzers. Unforch, I never knew about these the whole time I lived near CHicago for 24 years, even though I had some good Polish friends who probably could have shown me a fun evening. I suspect a lot of the "accordion" heard in polka recordings is really chemnitzer. As to the fingering shceme of the chemnitzer, this is probalby what one Polish buddy had in mind when he told me "you have to be born Polish to play it" Though we know somewhere buried in those buttons is an Anglo scale. --Mike K.

Mike, That would be grand. Send it on please... a very nice tune as I remember. Might even work on Anglo. THanks! It's posted here now, under Tunes and Songs. It should be playable on any squeezebox type. --Mike K.

Here's a lead sheet for my composition "The Lonely CoEd", as I play it on Hayden Duet, but since this version shows jsut melody and chords, it could be played on any instrument. I played this for Jody Kruskal's master class at the 2009 NECW, and it was well received. It can be played as a waltz, either in strict time or rubato style, or sped up as a jig. Have fun! --Mike K. PS: If anyone would like the full Hayden arrangement on two staves, let me know. It will sort of work on an Elise with a few simnplifications, but I recommend the full 46-button Hayden for this tune. Elise may work better if the tune is transposed to Dm from A minor.

All my DUets are set so that I can easily slip hands in and out if the box is resting on a surface. That's partly because all three have their straps as tight as the factory holes will allow (and we added a hole on the Stagi), so I must have small hands and wrists. I could try adding more holes to the new ELise ... But also, I suspect, if you tighten the straps too much, you won't be able to reach all the notes, especially on the little-finger (pinky) side. FWIW, I long ago gave up trying to paly standing up, with the instrument unsupported. Let's hear from some more Duet players! --Mike K.

Hmmm ... I keep forgetting that in Maccann and Crane/Triumph terms, L2500 (about $4000) is considered expensive, even for a big (over 60 keys) Duet. Hayden players would be happy to see a quality instrument of 52 or even 46 keys for a "mere" $4K. 52 keys hybrid right now costs about $4800. Right now Hayden players outnumber boxes. Someday our great-grandkids will enjoy the now-vintage Haydens -- after they finish paying for the bailout

All the dedicated, diehard Maccann players in the world, and nobody bid on this? Maybe the playability of even the Maccann system runs out after about 72 keys? I do hear that Maccann handles higher button count better than Crane (gets too "tall" or Hayden (corners are hard to reach). Or maybe this beast is just too big and heavy for anyone to enjoy playing? I'm not razzing the Macccann community -- just surprised that nobody jumped on this opportunity. And I've seen lots uglier --Mike K.

I don't know if it's been mentioned yet, but one difference between concertinas and most other instruments is, that there is a clear and widely known notion, for most instruments, of just what you would do with your msuical skill once you have mastered that instrument. If I play trombone (which I do), I know I can play jazz, Dixie, classical, Renaisssance, etc., and help out in church playing along with the choir. If I play piano, I know lots of uses for it. You can fill in the blanks for flute, clarinet, violin/fiddle, sax, whatever. Even an accordian player has polkas and ethnic weddings, and a Bandoneonist can find a tango party. But concertina? If you spent a significant fraction of your life eneregy mastering a squeezebox, what would you do? What music would you play? WHere, and to whom? WIth whom? Sure -- we on this Forum know lots of good answers to the above -- but the general public, including music lovers, probably doesn't. If a clasical conservatory were to open a concertina study major, or a practical school like Berklee did the same -- what sort of future employment could the faculty promise their prospective students? So, we play our boxes mostly for fun and companionship. Fine. But it doesn't inspire everyone to struggle upwards to virtuosity. And I suspect a lot of us like it that way. --Mike K.

Thoughts? Sounds like a box I'd like to have a go on! Actually sounds like some kind of Duet concertina, with 28 LH keys and 36 RH -- 64 buttons, not bad at all. Not sure why it has double the number of notes -- must be bisonoric, oh gawd! Now I get it -- he's describing a Bandoneon! Or did he mess up details of that too? At least Wikipedia can be fixed, in response to reader outcries. --Mike K.

You could look for a local meeting of Concertinas Unanimous. When you're feeling depressed and uncertain whether to get another squeezebox, you attend one of their meetings, with other squeezers, and they talk you into getting Yet Another Concertina (YAC). Sure beats trying to kcik the habit --Mike K.

Aw shucks, I was hoping to be the first to post a review of the Elise. Mine jsut arrived this afternoon, from The Button Box in Sunderland, Mass, USA. I've only had a few mintues to play with it, but my impressions are mostly favorable. I've been playing Hayden Duet (a Stagi and then a Bastari 67-key) for 4.5 years now, so I didn't have to relearn anythign except the closer button spacing. Sounds more like a "real" concertina to me. My Stagi's tone is lush and sweet; the Elise is sassy and perky and rounded. Tonal balance is better than Stagi's -- the RH stands out well against even full LH chords (!), and the higher notes of the RH are powerful, and don't wimp out as you ascend the scale. Action -- you can feel some friction in some of the buttons, and some springs are tighter than others, but it's OK, and noticeably lighter touch than the Stagi. (Remember, Elise costs 1/3 of the Stagi). Dynamic range seems good -- you can't start notesreally soft, but you can sure "honk" loud with a hard squeeze. Of course I should "play in" the reeds and bellows and report again in 6 months. Response speed of lower notes is about like that of the Stagi. Straps have a wide adjustment range. I had to put mine on the tightest notch. THere is room to punch at least two mroe tighter holes int eh straps for really small hands. Good design, Wim. Size and weight-- quite a bit less than Stagi's. Actually, almost the same diameter as the Stagi (just over 7"), though shorter when closed (7" end to end, versus 9" for the Stagi). In fact, I find the smaller size and weight takes some getting used to -- doesn't dig into the lap or thighs for stability as well as the Stagi. But maybe I could even learn to play this box standing up!?! I have to adjust my repertoire and arrangements to the missing notes (D# and G#), but I expected that. Looks -- Rochelle/Jackie basic black. Perfect for custom Toll Painting or decals You can see the pads under the lint screen in the fretwork, as with the other models -- just like a "real" concertina. For some reason I really like this. An excellent box to introduce the Hayden, indeed! I'm looking forward to using it in band gigs. The sound is really that good. I haven't looked at the Tutor book yet, but it sounds like it's doing the right thing -- introducing separate RH and LH parts right from the start. --Mike K.

I don't think anyone has mentioned yet, that the single reed plate (or multi-reed plates) can make for a more compact design. Valuable when you need to cram a lot of reeds into a box, as in a Duet concertina. The abortive Russian Hayden Duet was to be made this way, and Rich Morse was looking into a single plate design for his Hayden. Since the reeds lie flat, rather than stood up in cells, a single-plate concertina would qualify as a proper hybrid. I'll leave it to others to decide whether the savings in space is worth the tuning and repair issues. --Mike K.

Mike, That would be grand. Send it on please... a very nice tune as I remember. Might even work on Anglo. I'm sure you could make it work on ANglo You can play it at a steady tempo as a waltz, or way up-tempo for a jig even. I'll get it to you within a few days -- may even post the JPG scans of the score here. --Mike K PS: My spots for "Dancing by Starlight" are definitely from a computerized page, as in TOTM..

I think you got a super deal! (Assuming you want to try out the Crane Duet System). Not long ago I'd have gladly paid $500+ for a starter Crane to see what I thought of that system. You can think of this as similar to the Rochelle and Jackie and Elise -- a starter to see how you like the system -- except that you have a "real" vintage concertina (Lachenal). Useful as it is, you can always sell it for what you paid and move up to a 48 Crane, or try something else. Congratulations, and I'm just a little jealous, tho at this point I'd better stick to the Hayden. --Mike K.

Several comments, Bob: This is a great advance for balancing the LH to RH volume of a Duet -- and that's one of your new Haydens in the photos! Would the production version of your TTA be of thin metal? That would steal less volume from the reed chamber and reduce the odds of the draw reed hitting against the TTA plate. A finicky owner adjusting his TTAs would grow to appreciate the ease of removal and long-wearing ruggedness of your Hex-head cap screws. Maybe he'd want an offset crank screwdriver like in your photos Tedrow Volume Attenuator == TVA == hard to sell in Tennessee? However -- some of us have an alternative version of your concept. Instead of individual air chokes on each reed, how about a single plate covering the entire reed pan, between the reeds and the bellows? This would be simpler, and would have the special advantage of restricting the volume more and more as more notes were added to a chord. It could also have a slide vane with a lever sticking out toward the player, so the player could adjust it for oom-pah Duet playing (closed), or wide open for playing a single band part that wanders between left and right hands. Or anywhere in between. Granted, it would not fine-tune the volume of individual reeds. Both schemes are acceptable only if they do not slow down the attack of the reed when the button is pressed. BTW, Stephen Mills' avatar shows not just a Duet, but a Hayden -- and the two lower C# and D# buttons tell me where he got it. Good.) --Mike K.

I'll tell you my own experience. I bought a Jack because I like the lower register sounds. But I found the lower octave notes so slow in speaking that I missed the instant feedback that told me that I had pressed the right button (or usually the wrong one). Thus I found learning ont eh Jack to be slow and frustrating. For learning English, I'd go with the Jackie. No problem -- you can play a Jack (or other baritone EC) exactly the same as a Jackie, only the notes will sound an octave lower. That's the whole idea. I'd say: get a Jackie to start, then later move to a Jack or quality baritone once you're confident enough that you'll be hitting the right buttons. Disclaimer: I've typed my reply without reading the two dozen others first. SOrry 'bout that. --Mike K.