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Everything posted by maccannic

  1. Yes indeed, Ron, it's still for sale. And yes indeed, Chris, it was on the table at WCCP last weekend and it was Colin Dipper who suggested the price (and speculated as to its possible history as mentioned above).
  2. The WCCP 'Kilve' weekend starts tomorrow, not at Kilve this year but at nearby St. Audries. Really looking forward to it. It will be interesting to see how the change of venue works out. (But I expect the bar prices will not be as low as at Kilve.)
  3. The other day I was at home on my own, playing my concertina. Hearing my wife come back in through the front door, after a few moments I stopped playing and went to meet her. "Oh, it's OK", she said, "you didn't have to turn the record off". Quite made my day. (I wonder which record she thought it was?).
  4. Well, it was 'happy birthday to us'! All 14 of us, plus one audience. Irene, you're right, Byfleet is a bit of an arse to get to at night without a car. There's a station, but it's best part of a mile away, no good if your mobility is not 100%.
  5. Well, I've never really had a problem with the supposed illogicality of the Maccann layout. But then I am also a guitarist, so I am used to notes and chord shapes just being where they are rather than where I might want them to be. Also, as you can tell by the fact that I am typing this, I can cope with the hardly-logical QWERTY keyboard. Two exceptions though . . . The Eb/D# button - I have never understood why it comes below the adjacent D rather than above it. To this day I tend to avoid flat keys, and even a simple up-and-down scale of Bb-major or C-minor I find tricky. Perhaps someone can explain. And the way the layout changes in different octaves - I'm still waiting for this to become 'elegant'. I presume this is done in order to fit the asymetrically arranged scales into a neat and tidy button pattern. I just wish they left the buttons where they should be at the top end of the scale, even if it meant gaps and irregularity in the button pattern. I changed from playing a 64-key to a 67-key box after about twelve years, and 18 months later I'm still getting the high notes wrong. As a result, I don't go up there as much as I should do. Still, I guess it's all part of life's rich pattern.
  6. How not to choose a duet concertina system? Well, I found the perfect answer to that. I just bought a Maccann. As someone who has always found commitment difficult, I am astonished that I was able to make that decision. But then I didn't really look into all the different duet systems, I just ruled out English and anglo and went and bought a duet. For a while I wished I'd got a Crane, because I liked the sound of what people could do on them and beginners seemed to make more rapid progress than I was doing. But undaunted I performed in public after 5 months (accompanying myself singing Bob Dylan's 'Forever Young'), and after about 18 months it all started to fall into place. Being lazy (and a bit on the elderly side), I've concentrated on knocking out session tunes rather than doing Dirge-style practice on more difficult stuff, but I'm happy so what the hell.
  7. Well who'd have thought it? The session we started speculatively because two of us felt like having one celebrates its first birthday on Monday 27th February 2012. Held every month on the fourth Monday of the month at the Blue Anchor temperance hotel public house, High Road, Byfleet, KT14 7RL (same venue as the weekly Thursday folk club, but usually downstairs in the bar). Nominally an English session, but tunes from pretty much anywhere really. The usual mix of instruments but so far never less than four concertinas. The January session wasn't at all bad - 15 of us all told, despite five no-shows that we already knew about. Plus a quiet gentleman lurking on the other side of the room, apparently enjoying it. Ah, but what was that cube-shaped box on the floor beside him? He turned out to be none other than Zak van der Vyver, noted anglo player, who happened to be in the area and was eventually persuaded to give us a couple of tunes. The first was in E-flat, the second alternating between F and B-flat. All this on a C/G anglo - honestly, it ought to be illegal. Anyway, just re-posting the details for anyone who's interested.
  8. Influence and inspiration can come from absolutely anywhere - chords and bass lines from Handel, key changes from Lennon&McCartney ... I play Maccann, not Anglo, but the same applies. I really like that really dense Beach Boys sound, sometimes I try to get that.
  9. Give it up. You're making the rest of us jealous.
  10. Three of the tracks are also on 'Anglo International'.
  11. Ah, in that case I'll await her (hopefully speedy) recovery. And no jokes about 'low joints'.
  12. Irene, is your spreadsheet published or linked to anywhere?
  13. Welcome to the wonderful world of the Maccann. I hope you do well with your (very wise) choice. Mind you, if you're playing jazz arrangements after two days, then it doesn't sound as if you're going to have much trouble.
  14. Just in case anybody was planning to come next Monday, which is Boxing Day, we had the session this week instead. Ten of us there, despite it being the 'wrong' week and only a few days before you-know-what. Next session will be 4th Monday in January, as usual.
  15. It's good to see Zak posting on here. Only three posts in seven years - such admirable restraint. Amazing guy, we could learn a lot from him.
  16. Aw, shucks, guys ... but this isn't supposed to be about me, it's supposed to be about selling my concertina. No not really, because I'm no longer playing it, except to get it out and give it an occasional blast (they sulk if you ignore them for ever you know). I'm only playing the new one now, because the two 'tinas feel so different from each other and if I get used to one the playing on the other suffers.
  17. I just love this site. Not only have I had all sorts of interest and encouraging comments, but thanks to a kind offer of help from a techno-savvy member here (thanks, Jim Lucas) I am now able to link to a couple of sound files of my concertina: Maruxa Argeers; Christina The recordings are a bit rough (but not as rough as my playing!). 'Maruxa' is a slow Spanish piece with little left-hand figures filling in some of the gaps in the tune. Argeers and Christina are faster, with mostly oom-pah accompaniment - the close miking on these throws up rather more mechanical noise than you seem to get in real life. Still, they serve to show what a machine of this size can do, even for an only average player. I hope I have now answered everybody's questions (and thanks again Jim).
  18. Hi everybody, in response to queries I've had from various people, here's a few more details: The concertina weighs 4 pounds 11 ounnces (i.e. 2.13 kilos). It has a proper rivetted action (unlike some cheaper Lachenals). I attempted to attach a couple of sound files so you could hear what it's like and what it can do, but the message came back they're too big to upload. I will try again later.
  19. I knew there would be something else I should have said. The bellows have six 'peaks', i.e. seven 'valleys'. I would have called that seven folds, but the concertina world seems to call that six folds. The ends measure 8 and a quarter inches across the flats.
  20. And with a bit of luck, here's the LH end. (Isn't this fun?)
  21. OK, here are some pics, if I've done it right. Showing the RH end and a close up of the RH end.
  22. Yes, that's right. The two ends are exactly the same, except an octave apart. The 'new' one is bigger, going down to low G on the left. It is heavier and felt slower and less manageable and took a while before I decided I was completely happy with it, but it's OK now. I'll put up some pictures of the Lachenal when I've got my brain together.
  23. Having built up confidence in playing my new concertina, I've decided it's now time to put my original one up for sale. It's a 64-key 'New Model' Lachenal Maccann duet, dating from about 1898, with raised wooden ends and steel reeds (concert pitch). Range is middle-C to high-G (2 and a half octaves) on the RH end, with the LH end the same but an octave lower. I played it regularly for about 12 years before I got my new, bigger, one and it is in tune with all notes playing. There is a very small amount of cosmetic damage on the outside, although the bellows are fine and it has a very nice tone. I have the original Lachenal case, but this is in poor condition and I had a new padded case made for it - both of these are included if desired. I had an expert independent valuation of £2000 but would take a reasonable offer. I was also advised as a point of interest that the concertina may originally have been an exhibition model, as the size and layout does not seem to be particularly common. Anyone here likely to be interested, or know someone who might be? Otherwise I guess it's going to be Ebay or a dealer.
  24. Ah, I've heard people talk about the 'set' of a reed. Does that mean I've got to bend the reed, and if so, which way? So far, I haven't taken it apart again to have a look, but I will do tomorrow.
  25. There is one note on my concertina (in the push direction) which is in tune, starts promptly, but is just rather quiet. The same note on the pull is normal volume. What is the likely cause of this? (If it was on pull rather than push I would suspect a delaminating pad or something.) I can't see anything wrong, looking at the reed, pads, valves etc. Concertina is an Aeola maccann duet and the note is G-sharp below middle C. Any help gratefully received.
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