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Geoff Wooff

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Everything posted by Geoff Wooff

  1. 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).
  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.
  3. 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.
  4. Sad news. I remember Richard well from my years in Australia, a gentleman ! RIP.
  5. 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.
  6. 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.
  7. 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.
  8. Tell us more please. Pictures, serial number etc.
  9. 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.
  10. 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 ?
  11. Ok, my thoughts are that a 1950 Aeola would usually sell for far less than a 'top period' era model for reasons of quality of materials, , production short cuts and craftsmanship used at that time, unfortunately. So finding a sensible sale price between the kudos of its looks and its playing qualities can be difficult and making an offer without first trying the instrument even harder. So, perhaps you might send me a personal message with your 'bargan price' and I will think about a safe way to transport the instrument to Europe. Geoff.
  12. Hi Johnneenah, I love the look of your concertina but , am I right in thinking you have been trying to sell this 56k Aeola for the last 12 years ? If so, have you been able to verify if the ends are real tortoise shell or an imitation material ?
  13. If you like to buy concertinas, on the rare occasion you may come across one, then perhaps it is wise not to inform Joe Public of their value to you as a musician. Of course, such exposure may release one or two more concertinas from Granny's attic, and that's no bad thing. Have fun.
  14. Ah Ha Shay, the "Level Playing Field" makes all the difference ! So much detriment to tone and efficiency in concertinas can come from small internal leaks. Glad you have that sorted.
  15. A Wheatstone of that period will probably have quite thin pads, even without much compression. I have a similar era Wheatsone where the buttons do not protrude as far as later models but to get enough travel on those buttons I have removed one or two of the felt 'damper' washers from the locator pins at the base of each button. The pads now lift well clear of the vent holes and the tone is very clear but the buttons do go down a wee bit further than I would like. Whilst the button height is quite low the location pins are almost as far out of the holes as could be deemed safe. So the action is caught between the two extremes of 'buttons almost disapear into the ends on depressing' whilst they cannot rise any higher on release. Sure the tone is now a marvel but the action slightly disconcerting. I suggest, Roberta, adding one felt washer to each button to reduce the depth of travel but agree with Theo that getting hands on advice from a good repairer might be invaluable. I have adjusted the action of every Engish I have ever owned, usually to get my choice of spring strength ... I but I find these early models can need special attention.
  16. Hi Les, sorry for delay getting back to you... all night thunderstorm kept me off the Web. Many thanks for your message.
  17. Thanks Mike , I'll take a look Geoff.
  18. Stephen, basically the same idea as your Northumbrian sessions. The French dance band my wife and I play in is governed to C and G by the other instruments, Cornemuses , Diatonic accordéons and Hurdy Gurdies etc. This means I am playing the EC mostly in C, which during a Bal Folk can have me wishing I was playing in D to spread the load over more fingers. My wife tunes her fiddle a tone flat for the very same reason of fingering familiarity . Then, as happend at a party last weekend someone asks if we'd play some Irish music. This would have herself tuning the fiddle up a tone... BUT if I also carried a Bb EC there would be no problem for either of us. On occasion I have wanted to join an Irish C session.... which I can manage Ok on the fly IF I have a Tenor Treble... this involves playing the tunes an octave lower and reversing the fingering for F and F# etc. ,but the flow of fingering is disturbed. So, my three reasons : to play the C and G French tunes with D and A fingering. To play Irish with my wife's flat tuned fiddle and to easily join an Irish C session or play with a 'Flat' Piper. You are a lucky man buying that Bb EC from Barleycorn.
  19. A year or so back I came up with a couple of good reasons for needing an English where the reeds were tuned one whole tone flater than normal. The search for a Bb tuned EC went on the back burner due to the Pandemic and my Carpal Tunnel syndrome. Things are beginning to improve on both fronts so , yesterday I thought of a third purpose for such an instrument and now I am looking again. Anyone willing to sell or know where I might find one ? Geoff.
  20. I agree with Sadbrewer. Supply is one important area of difficulty that needs to be considered . Vintage duets are great value purchases but generally you'll find a better choice of MacCanns .
  21. I had several copies of Ralph Jordan's Eloise CD that he gave me towards the end of its sale run. His idea was that I might come across someone who might like it. I have just checked and can see I still have two new copies on the shelf so, if anyone is really stuck to find it I am happy to post one , gratuit.
  22. There is another Wheatstone action that appears in the late 1920's. this is very similar to the rivetted action but uses a split pin instead of a rivet.
  23. Whilst one can selectively 'baffle' the left hand it is also possible to increase / decrease the output of each note by controlling the pad lift. Removing one , or more, of the felt dampers from the location pin of the buttons will increase the pad lift and allow more sound to exit the reed chambers. Limiting the height the pads can rise will have a dampening effect. It is possible in this way to improve the balance without making irreversible changes to a concertina. NOTE : Drastic changes in pad lift may require some notes to be re-tuned.
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