Richard Morse

That Stagi may be more compact and somewhat lighter than a Hohner 114 but not not a lot more. The Stagi is also is a considerably softer/quieter sounding box with stiffer and less precise action. They sound very different too as the Stagi has 2 sets of reeds giving a dry (ish!) octave sound while the Hohner has 4 sets of reeds (much more acurately tuned to pitch) that are independently selectable to be on/off to give many sound combinations - including the same set as Stagi has. OTOH, the Stagi has a IV bass/chord while the Hohner has only I, V.

It would be much easier and more standard to request the physical parameters as being dimension across the flats and number of sides. Also - rather than posting answers to your guestions, I suggest using the POLL feature this forum has so that things can be viewed and tallied easily. There are only a dozen makers or so (you could include an "other" as well), the number of buttons need not be exact but fall into standard ranges, and there are very few types and shapes of concertinas. But for the record, my Wheatstone Hayden duet has 46 keys (buttons) and is a 6 1/4" hex.

Ah, that's an easy one, a well-known problem! That reed is being affected by the bellows fold as it nears it. Anything near the tip of a vibrating reed will make it's pitch shift to slightly higher then a light "burring" or buzzing tone, sometimes with metallic or nasal overtones. Open her up and you'll probably find that the linen or leather hinge on the inside bellows fold is loose/deteriorating (or possibly had been replaced with a thicker-than-original, or often a newer hinge placed on top of the original - making it a lot thicker). Sometimes (much more rarely) the adjacent bellows card had become damaged and is intruding. Repair as is necessary and you're back in good shape!

It's also possible that the reed/shoe clearance is fine when the assesmbly is removed from the concertina but NOT when snuggly seated in it's dovetailed slot. This is particularly troublesome with lower notes (longer reeds) and less wide shoes. Check your dovetail for uniformity and try a paper shim at the tip end and at the butt end leaving the side section adjacent to the reed tongue shimless.

Flipping reeds on an accordion does seem to be a way makers get those short/small reeds to be more responsive (primarily in enabling them to start at all). Another way is to introduce some bleed air (usually by inserting an awl in the wax near the corner of a reedplate in order to make a small tunnel for pressure vent/release). I wonder if this flipping works only with exit holes perpendicular to the reedplate and only if the reed has no valves.

My experience is that the air travel path is far the more accoustically influential than is chamber volume or shape. Take the universally accepted standard that the free end of the reed is located at the opposite end of the chamber as the outlet pad is and wonder why? The tone and response of the reed changes considerably to less robust and slower acting when you move the outlet hole closer to the free end of the reed - and when directly over it - will sometimes render the reed inable to speak at all. Tnere are other parameters influencing this air path too: the length of the air path; the size of the outlet hole and how far off it the pad lifts up (which seems should be added to/included with the length of the air travel path); the "ends" of the path (how far beyond the reed tip and pad hole the chamber extends); and the proprtions of the path (ratio of average grith to length).... Anyone have any thoughts/corroboration with this?

I've noticed that that seems to be the case with contra dancing too, though I wouldn't be so disparagate. When I first started dancing (over 30 years ago) I remember being somewhat put off by the "older folks" at the contra dances as they weren't the high energy types as were the (my aged) folks I wanted to dance with. I soon realized that I enjoyed dancing with seasoned dancers who brought a lot of comfortable ease and style to the mix. Now I'm on the other end of things, in my 50's, viewing with a smile at all those "kids" flinging themselves around with so much abandon - and yet not shying from dancing with them. I find it a nice/interesting fit dancing with them, being the grounding agent which allows them to relax and egenders more room for expression. We dance, we chat, we have fun. And often seek each other out at subsequent dances. It may all be a matter of focus. I remember more my-aged young folks when I was young, and now see older (ahem - mature?) folks as now I am. Contra dancing is multi-generational, and may now be weighted more toward the older crowd for some dances. In my area (Western MA) I have a choice of 3 or 4 contra dances each weekend within a 20 minute drive. They vary considerably in the age range with David Kaynor's dances tending to "bell-out" in the late 40's whereas the Wild Asparagus's tend to asymmetrically bell-out in the 20's. Still, at any contra I'll see dancers from 6 up through the 70's. I've heard a number of older folk (jeeze - I hate calling my agegroup that!) say that they don't do the Greenfield Saturday dances any more because of the plethora of younger folks there. It's true though, there is a lot of young blood out there.

I currently play a 30-button, and I like to play chords with my left hand while playing melody on the right, but I've run into problems when playing outside the keys of C ang G (and their relative minors). It sounds like you play English style rather than Irish style. Have you considered getting a G/D instead of a C/G? Not only would the G/D have the right hand more in the range of the tunes you play (so you don't have to cross over to the left so much), but those "home" keys fit more traditional dance tunes (played in the English manner) better than the C/G. Maybe this would be a good topic for an English style anglo player to chime in on? Chris? Some of you Morris types?

If it's just been overhauled it sounds like a poorly installed valve. Sometimes a valve can be inadvertantly secured on the reedpan a bit too close to a chamber wall so when it opens it rubs against the wall and gets hung up there. Asymetrical gluing can also cause this problem An easy fix is to gently stretch it with a crisp screwdriver rub to have to move away from the chamber wall. If that doesn't work you can remove it and reinstall it properly. If secured on with exactly the same amount of coverage, the pitch of the reed should not change noticably. Another possibility is that you have "bad" valve. They are cut with the grain of the animal along the long axis of the valve. Sometimes a valve gets punched from a diagonal grain which will make it open slightly askew (to hang up on the chamber wall). Sometime there's a natural crease in the leather skin which causes the valve to be weaker (not as springy) and remain open, or open askesw If you have a concertina repairer replace a valve or two, it would probably take about 10 minutes. I would imagine that the person who overhauled yours would probably do it for free. Others may charge you a slight amount.

Screwed-in reeds are not necessarily better than waxed-in reeds, especially when it comes to Stagi/Bastari concertinas. Their screwed-down reeds use/used a medium density foam gasket which absorbs a lot of the vibration making those instruments considerably softer sounding. Also depending on how hard you tighten the screws, the pitch of the reed changes a bit making them extremely difficult to tune. There are also many other much more important (to me, anyways) reasons for choosing one model of Stagi/Bastari over another despite being new/used. The quality of their action and bellows differed incredibly. How the reeds are installed pales with the difference in playability due to the action and bellows. They still use both for various models. So why a 40-button? Most of the pro's I know use 30-button models and there are lots of vastly higher quality 30-button anglos out there for under 2 grand. Also - Stagi/Bastari's 40-button model doesn't sound as bright as some of their 30-button models.

My sheet music collection is and lots of books, Xeroxed copies, hand-written blobs... quite a mess. But I don't mind as I rarely use it. I learn tunes primarily by ear (slow jamming seems to be the best way for me) and use the blobs only as a reminder. Sometimes I use a digital dictaphone to help me learn them. If I need to slow them down I use the Amazing Slow Downer.

Depends upon the problem. If the bum valves are beat because you use them so much and the rest are in fairly good shape, you can give them a little more life by reshaping them. A quick fix (short term) is to take a crisp screwdriver and (held perpendicular to the valve and reedpan) and lightly scrape the valve in place. That will stretch the "outside" of it making it want to rest against the reedpan rather than bent back away from the reedpan. This could last from several hours to several weeks. I do not recommend the medium fix which is to remove the offending valves, curl them around and back and forth in your fingers and reattach it (we use thickened shellac). This can last several weeks or more. The bad news is that a reed usually changes pitch when you replace its valve and so should be retuned. Not a task for a novice. A better medium fix is to have the few offending valves replaced with new (and associated reeds retuned (by a pro). Dying valves usually make themselves known on the most-used reeds first and herald the rest following suit. Depending on how persnickety you are, you can put up with things - or do the quick fix when they irk you enough - or do the better medium fix, though really if several are going the rest won't be far behind. Consider having the entire box revalved (and tuned). By a pro.

That does sound like a valve problem, particularly if you play that note a low volume and slowly increase volume.... at some point the pressure/air flow will overcome the faulty valve's set (bent away from the plate) and suck it against the reedplate which will cause a discernable "pop". Before that the reed will we slightly breathy sounding and not very loud. After the valve seats the tone will become immediately clearer and noticeably louder. If so, this is quite indicative of a dead valve. Concertinas are made to be easily opened and fooled with (with the vintage style ones being markedly easier than Stagis).

It's certainly possible though I would imagine that any maker would consult Brian Hayden when designing their instruments. He has put an incredible amount of work into perfecting his design, and enough instruments have been made to ascertain what works and what doesn't. His earliest designs (and that which his patent depicts) has the rows of buttons slightly curved (as anglos are). It didn't take long to realize that this is NOT preferable, and that straight rows were essential for identical fingering and to be able to play two buttons with one finger reliably. There is also the slant of the rows to consider as well as the interbutton spacing. After many prototypes this was pinned down in the early 80's and has remained optimal since. You're correct in thinking that different makers could produce varied keyboards. In fact the Stagi Hayden has considerable wider key spacing and a much flatter row slant. Brian is perplexed as to why Stagi did this (maybe Italians have huge hands - though Brian is a no pigmy himself!) as his recommended layout is available for the asking. Brian's idea (or design) of the note LAYOUT is what is patented. That layout is not restricted to any particular instrument, size or shape of buttons/keys, slant/spacing/curvature of the layout, pitch or range of notes, etc. In fact the duetness doesn't even enter into the equation. Duetness is a property of overlapping tones on two keyboards. Interestingly enough, I've seen his system applied to an organ in which by extending the "sea" of notes left and right creates duplicate notes such that one could play "duets" in the same range - or even low with the right hand and higher with the left. Concertinas need not be so rigid as they don't have to interface with anything other that human beings - and we vary all over the place. Yet - there are better and worse keyboard variations from the average human (an ideal compromise?). Time will tell. Note how the English layout has remained intact in for over a century and a half. The only Haydens I've played are Wheatstones and Stagis. I find the Stagi uncomfortable to play though if I stick with it for awhile I find I adapt well enough. But I'm also quite relieved to get back to my Wheatstone. Folks that have Stagis go through a bit of adaptation too when playing my box - and quickly realize the superior setup. Stagis being currently the only game in town, if anyone were aspiring to a Hayden, I would recommend they get a Stagi and get going now and not worry about adapting to a slightly different layout when trading up later. It's very doable. That sounds like an excellent idea! I'm quite sure ours will do well as we've been in contact with Brian continuously over the years as I've been developing our Hayden.

A new vs used Stagi? While the chances of a used one being in good shape is quite low, so are the chances of a new one being in good shape quite low too. We have to tune every new Stagi we import (some come in 25 or 30 cents out of pitch!), patch leaks, realign pads, etc. before we would even consider selling it. Frequently they come through with many wrong reeds installed. Some may be just reversed though some are a completely different notes entirely.

A nomencature thing, I guess. To me the knee is the hard part where your leg bends. Anything between that and your pelvis is thigh. When you sit down you have a lap (which is both thighs) there. I play resting the RHS on left thigh and chose "other". If lap were an option I would have chosen it over knee.

I came to concertina from melodeon playing too which is probably why I do RHS on left thigh as you do.

I voted "other" as I rest my concertina's end on my thigh (right end on left thigh). The thigh seems to be the most prevalent staging spot I've seen folks play from. I would that thought that the thigh would have been an option, as well as an "in the air" (with or without neckstrap?). I wonder if Englishes and duets are played from similar roosts?

$45 for a comfortable cabin for the weekend doesn't seem onerous (you should pack your chow in though as the comestibles are pricey there). The expensive part for you will be in getting there from Ohio. There is a bulletin board workshop grid with time slots to be filled in. Folks will adorn the periphery of it with postits requesting workshops in whatever.... Others who have the know-how will take the suggestions and fill in the timeslot of their choice to lead a workshop in that. Of course one need not wait for a request to lead a workshop. Both Albany and Hartford (Bradley) airports are about an hour's drive from the S-I. You can rent a car from either or contact The Button Box to see if you can hook up with another attendee flying in to share a car. There is also a fairly convenient bus (and even more convenient limo service (read: van) going regularly from Bradley to Northampton where one of the Button Box staff can pick you up on their way out. You may also be able to coerce an attendee passing near one of the airports to pick you up....

Chachkas? I musta lost them, had to look up what they are.... The word Rich intended, I think, is "tchotchke." From an on-line dictionary: Pronunciation: 'chäch-k&, 'tsäts- Function: noun Etymology: Yiddish tshatshke trinket, from obsolete Polish czaczko KNICKKNACK, TRINKET Just guessing, but I think Rich might have intended these questions for another Wendy -- Wendy Morrison of Takoma Park, MD, aka Wendina, who lost a lot of her possessions in a fire ... including, I suppose, parts of her extensive collection of accordion- and concertina-related kitsch (tchotkes). Wendy also has an amazing Klezmer/Eastern European repertoire. I had a hard time figuring out how to spell tchotkes but finally found it at Dictionary.com which's spelling I used. You're right about my mistaking Wendy for Wendy. She's been such a boost at the Squeeze-In and we've missed her these past few years.

Believe it or not, I have just a single concertina, a 46-key Hayden duet Dickinson Wheatstone. Not much when it comes to bragging rights, but at least I can safely say that I'll be claiming the first of our Morse Haydens to come off the line!

Of course I'll be there (as well as a handful of our staff).... I usually bring a selection of sheet music (in 4 or more parts) for a band workshop where we usually work up a march or popular piece for the concert. I've also done a waltz, duet, and button accordion workshops. Things vary depending on who's there and what needs/wants doing. One new item we hope to do is a blind testing of concertinas (that is, with the player behind a blind) with audience evaluation to see how discernible these new hybrid members fare. Right now it's just and idea, but just how it's to be done and what criteria we'll be collecting will depend upon who's interested. Should we include Stagis and Jeffries? Only anglos? And as David points out, there are many other instruments beyond boxes at this gathering. Not mentioned were bagpipes, hurdy-gurdy, keyboards, and basses. Wendy - please do bring you PA! You've got the room for it in your car. You may not think you'd need it, but if you did and it weren't with you.... bummer! Can you really play those Hungarian and Romanian pieces as well on you English? Also a reminder of our REWARD for the person who brings in the most interesting box for display. Our items in the "Museum of Curious and Bizarre " have become banal to our veterans. Please share your oddities, whatever squeezeform they be. (Wendy - did you loose ALL your chachkas?)

All the fancy rooms in the Manor, lodge and annex are already spoken for, though we do still have a few cabin spots available , as well as acres of camping.... Veterans of the S-I will be pleasantly surprised at a few changes to Bucksteep this year. It is under new ownership! The Judge has retired and has sold the place to the current manager's family who have been quite busy this past year making improvements - inlcluding upgrading the cabins which includes new curtains, beds and mattresses, as well as providing them with sheets, pillows, blankets and spreads!

There are usually about 50 concertina players at the Squeeze-In each year with about half of them playing anglo. Of them I would hazard to guess that about half play in the Irish style (making about a dozen Irish style anglo players?). Frank Edgley is closer to this action than I am and could give you a better count. For more information on the event, check out reviews of past years at our Northeast Squeeze-In page.

It's best for you to e-mail our shop directly squeeze@buttonbox.com with your request to be put on our Hayden Wish List. Safer than me remembering to do it in a couple of days when I get down there.