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Geoff Wooff

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Everything posted by Geoff Wooff

  1. This photo demonstrates the wrist strap position on my Baritone Treble Aeola, using the original anchor points. My homemade straps are not as wide, or as stiff, as Wheatstone originals but strong enough allow the 'pull ' effort to be transferred from the thumbs to the arms. Incidentally , the picture was taken to demonstrate the pressing of buttons four octave appart using adjacent fingers, not that it shows how far my ring finger is tucked under my palm.
  2. I don't know which parts might have been recycled into new instruments by Wheatstone's after they had bought all the stock from Lachenal & Co., but perhaps it is more likely that some of the work may have been undertaken by ex Lachenal employees. Materials, of course, would have been in very short supply during the War. and it is likely those few concertinas that were made ( the ledgers show only about 40 instruments for 1942) could have been produced from pre war stock. What it will have is metal capped plastic buttons and hook action but not the Lachenal type. Perhaps aluminium reed shoes, but more likely prewar brass shoes. as I'm sure any available aluminium would be going to aircraft production. So, although build quality and materials were usually not up to 1920's standards by this stage , Wheatstone's were still making a decent instrument if not quite with the finesse of their finest creations. Allow for a full service and the unknown effects on the wooden parts caused by any climatic extremes in your part of the world then factor in a percentage value for these late models, perhaps 60- 70% of the Top Period Value . ( Check professional values with The Button Box or Barleycorn Concertinas) .
  3. Stephen, for photos you could hardly do better than look at the very recent topic in the general discussions forum called " Unrestored 1942 Treble Aeola, worth There the photos of the wrist straps are very clear. I have a picture of how my own , hand made straps fit closely across my wrists... I'll try to up load it later.
  4. Anyone prepared to suggest , or guess, what the final figure will be ?
  5. The only thing I can point out is in the text. Steve Dickinson was not living in Thornham Magna in 1975 so I'd think this instrument dates from the early 1980's. A Tennor Treble by the looks of it... very nice too.
  6. Thanks for the Roylance suggestion Peter, I will contact Barleycorn to see what they have in stock. Scoopet, good point!
  7. Hi PJ, no great hurry I'd be interested to hear more about your instrument. Geoff. PS , un-restored is not a problem.
  8. Anyone want to sell a Wheatstone or Lachenal Baritone EC ?
  9. What a great age to reach! May we all manage that span of life, and he was in good form up until quite recently. The end of an era. RIP Chris Droney. Really lovely photos Peter!!
  10. Tori, perhaps there is no perfect transition between piano and concertina keyboard . The Hayden /Wikki Duet would be perhaps the closest match.
  11. Beyond four sharps and three flats on the English keyboard the regular sharing of notes between left and right hands starts rapidly to breakdown. So Eb, Bb, F, C, G, D, A and E and their relative minors are comfortable keys within the system. Once the pattern layout becomes second nature it is relatively easy to quickly change key, here is an example; A two minute , single take, recording of a tune played in 7 different keys ( 14 if one includes the major and minor sections of the piece) . Ok , not a perfect recording but just an experiment to see what is possible.
  12. Cannot help with and links to Geordie baritone videos. I tried one once, or perhaps it was the smaller Albion, but for me it did not have enough puff for the larger reeds. The instrument played by Dick Glasgow is a Baritone/Treble and that is what I play also. Basically a Treble keyboard with an octave downward extension , which means if you wish to play a tune one octave lower your fingering has to be reversed. A Standard Baritone is like a Treble tuned an octave lower, but I'm sure you know that. The Baritone /Treble takes a wee bit of getting used to but I do not find mine at all slow for playing Irish sessions , though my main use for it is adding harmony and chords in the lower regions whilst maintaining the melody in the treble ranges. Dick Glasgow's is the biggest version ( 64 keys) and my own is the smaller 56 key which is 8" across flats. This one from 1927, looks a bit rough around the edges but it's a player!
  13. Where reeds sharing one chamber are tuned in unison or octaves we might expect them to phase lock and perhaps they will but I'm not sure to what extent we can describe the reedpans of traditional concertinas as having closed ( separated) chambers. I can imagine that two reeds tuned closely but not exactly the same pitch, so as to create a 'celeste' or 'wet' tone might try to influence one to the other and phase lock when mounted in the same chamber. I can see why someone would want to have two reeds in octaves to make a 'bandoneon' tone but two reeds the same pitch with the a view to making a louder concertina will only end up with a much larger instrument . Loud concertinas are usually small and have metal ends with plenty of cut out in the fretwork.
  14. Giving a better description or the serial number would aid people in knowing exactly what model and type you are wishing to sell.
  15. On the "English International" CD collection Ian Robb plays a double reeded Wheatstone Aeola where two reeds an octave apart are sounded by the pressing of one button. There was a discussion about this instrument, I'll see if the search facility turns it up. I'm not sure whether there were two reeds in each chamber or the button lever opened two chambers.
  16. Perhaps a better comparison and similar genres. The first track is played on the Wakker 46K Hayden (wooden ends). The second is played on a wooden ended 56k Wheastone Aeola English , Baritone /Treble.
  17. Indeed Isel , there is a big tonal difference. Perhaps this is not a very balanced test so I will try a different one in my next post. Regarding the second tune title, I'm not exactly sure but it must be one of the southern France languages.
  18. Two soundcloud tracks; both recorded in the same space with the exact same set up . The first is a Kerry polka played on a Wakker H1. 46key Hayden duet with wooden ends. The second is a French tune played on a 57 key Wheatstone Aeola McCann with metal ends. These tracks were submissions for the Tune of the Month forum. Posted for tonal comparison..
  19. Could it be a half dozen people claim authorship of something so popular ?
  20. It could have been 1973 or 74 but I think it was 1975 when I went to an ICA meeting, memory says it was somewhere near the Albert Hall. I recall Alf Edwards was also there, though he did not play due to illness which was a great shame. At that time I was not terribly interested by the repertoire chosen by the older performers. I too am a south Londoner Alan, hailing from Lewisham ... I emigrated to Australia early in 1976 and rarely returned. I still have very fond memories of The Black Horse at Nuthurst, the music and the beer..... and of yourself of course. Springtime in Battersea ,as most of us should know, is not a composition by Tommy Williams but a melody ( Schneewalser by Peter Alexander) he most likely picked up in the trenches during the first world war.
  21. Whilst I can imagine someone might wish to lighten the larger reeds of a baritone by using Aluminium for the frames I also think it unlikely they are original , certainly at that period. It would appear that Wheatstone thinking was in transition during the last years of the 19th century. Prior to about 1890 the English concertina was much as it had been for the previous 40 years, a parlor instrument with wooden ends and baffles. Then along came the Lachenal 'New Model' having some tone chamber and action box modifications that gave it a bolder tone and improved response . I can imagine the designers at Wheatstone having to up their game in the face of fierce competition. Developing the hexagonal Aeola, shoving out the boundaries in two directions , the pin hole is very quiet and the metal ended version really sings out in an uncompromising fashion, an example being Alistair Anderson's 'Boyd' Wheatstone.
  22. I was lucky to have met Tommy Williams, in my youth, if only briefly, at an ICA meeting in London. It was quite amazing to watch this tiny and wizened old man play his large duet standing up, swinging it around in the air. Indeed the recordings of Tommy and Gordon Cutty on that CD are quite an eye opener to the repertoire and abilities of that generation. Woodland Flowers is one of the more popular pieces with concertina players of the early 20th century and there is a grand version recorded by Alexander Prince that is available on Wes Williams website. www.concertinas.org.uk/PrinceAudio.htm When listening to those Alexander Prince recordings I am struck by his phrasing and his incredible contrasts between legato and a stacato that is truly crisp.
  23. About 45 years ago I bought a Treble version of this model in one of those second hand shops that specialize in musical instruments, cameras and sound equipment. Lucky for me the owner knew nothing about old squeeze boxes and I paid £8 for it. It was a lovely thing, completely original, had a really good set of reeds but it was far too quiet for the noisy young man that I was then. I sold it to Steve Dickenson in some trade for repair work. Those fine reeds had Brass frames as does my current 'band' Treble, made just 31 instruments later than the subject of this thread. So, can we assume the reeds in this Baritone are replacements made at the time of the Crabb restoration ? Very interested but I still require a decent growl from my concertinas .
  24. Have you tried Berwall www.berwall.de ? They have a lot of shapes and sizes.
  25. Oh, that is sad. I enjoyed a short chat with Gerald at last year's Willie Clancy summer school and he was in fine playing form then.
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