Geoff Wooff

Well Jen, I think it can only be a 2 as it fits the period of this model. I had one of these Pin Hole Aeolas during the 1970's its serial number was in the 22000's. You might find the number penciled on the underside of the fretwork or stampled one of the frames sandwiched between the action board and the top.... I have just examined the very clear '2' stamped on my same period Wheatstone and it is a very curly font, could almost be an 8 or a 3... though internally I found no sign of a full serial number...

That preceeding figure is a 2 making 21873.... and that might well be a reasonable serial number for this model. Unfortunately falling in the 'lost ledger' years... but an estimated manufacture date of mid to late 1890's .

Both Aeolas and from the 1920's, the action should be very similar. I would say what you are experiencing results from differences in spring adjustment. Probably , if you will be keeping and playing both, better to try to get the springs of each adjusted to a similar pressure.

The simplest way is to follow one of the charts that have been posted on Cnet which show deviations ( in Cents) from Equal Temperament for each note. Placing A at 440hz if you wish, then D will be 2 cents sharp of zero ET. If you cannot find these 'cent' charts then I can re post here. There are other charts, perhaps with frequencies in Hertz, on the Dolmetsch website www.dolmetsch.com .

I agree with Randy and collections of French Balfolk tunes can be found, however if it is accordéon music from the Musette period you wish for, like 'Sous les ponts de Paris' or ' Reine de Musette' etc. then there is a series called 'Musette. Recueil de 110 succes' , five or six books published by Paul Beuscher of Paris. These books contain around 100 tunes each, for accordéon, including Javas, Marches, Mazurkas, Paso-dobles, Polkas, Sambas and Waltes. Not sure if these are still in print but they can be found through ebay or secondhand book dealers. I also have a collection of traditional dance tunes arranged for accordeon and mostly notated in C or G from the accordeon teacher Françoise Danger but I do not think these are commercially available. Or try Dragonfly Music in the UK . they used to publish two books called The Massif Central Tune Book ( No. 1 & 2).

Hi Steve, do you have the serial number or any idea of the period ? Many years ago ( 1973) I tried an EC made by Harry's father in the 1920's... it was an 8 sided Tenor Treble , heavy but a beautifull sound. Harry wanted £180 and that was too much for me at that time and I opted for a 1927 Wheatstone Aeola for £150..... wish I'd bought the Crabb too.

I have used one of those bellows kits from Sandylaneman and was pleased with the results on a medium to upper quality Lachenal. I would buy again, in fact another candidate has come my way and I am contemplating whether it will be quicker / easier to replace or repair a currently leaky bellows.

Sad news. I remember Richard well from my years in Australia, a gentleman ! RIP.

Regarding current asking prices for concertinas: Another member of this forum , who lives in England, suggested to me that prices of vintage Englishes will soon drop because there are so few young people taking up the instrument. If that is the case there might be a glut in the market as many older EC players reach the end of their playing days. Could this happen ? Could it include the vintage Duets too ? In France , where the Accordion is still popular , although nothing like as much as it was up until the 1960's, huge numbers of decent secondhand instruments are offered for sale on classified websites. One site has private adverts for about 6,500 accordions ! Of course this has happend before. Interest in the Concertina waned after the war and second hand models could be picked up for a song. The market for the Anglo appears to be assured by the huge interest shown by young players in Ireland.

If you were at some stage a fiddle player and you are interested in playing Irish music then why not rejuvenate that... cheaper to buy, easier to find teachers and an instrument right at the heart of the genre. Ah, but you wish to play the Concertina , so I suggest you take up the Anglo for Irish music. Don't know which is easier, I play the English but use it for any music I like... including Irish.

Definately agree with this. I find some notes that are not used often just don't sing like the others. In fact one of my concertinas does not react well to being left in its box, comes to life after a weekend of playing. Not that it's sound is ever dull, just that as a high output instrument one can notice the difference between its happy place and its sulky mood. I once had two of Tommy MacCarthy's Jeffries to check over, the one he played all the time and his 'spare'... one sang and the other was... ordinary . Alistair Anderson once said that his concertina was not happy after a two week lay off for his holiday.

Tell us more please. Pictures, serial number etc.

Wonderful !

Think of it as a 56 Tenor Treble with an extra row of low notes. These 64key Baritone /Trebles are quite large at 220mm across and with the 8 fold bellows you will never run out of air. I prefer the smaller 56 key version ( at 200mm across) with only a very few of the highest notes missing. Keyboard is non- transposed but shifted forward ( away from the player) hence the extra long little finger plate.

Interesting reading from the CITES people and thanks for providing the links Steve and Dave. So, reading between the lines and speculating a little , the CITES info suggests that some imitation tortoiseshell is quite flamable. Note also the warning lable inside the lid ( sixth photo ) of Johnneenah's post. Is this a "danger inflamable product" statement from Wheatstone ? Might we assume the end plate coverings of this concertina are imitation ?