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Mike Franch

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Everything posted by Mike Franch

  1. So you add to the list of things your bring--your instrument, your music, your music stand, etc--you bring your own air!
  2. As I think Greg Jowaisas has pointed out in the course of these discussions, it's not only the humidity in the case that matters, but the humidity in the room the concertina is played in. In an overly dry room, your just sucking dry air into the innards with every expansion of the bellows!
  3. Seconding Randy. I attended my first one last fall and felt (and was) welcomed and had a great time.
  4. No need to apologize for your playing. Good luck with your health issues.
  5. "It's in A452 just like you said. Is it a bad thing? I'm guessing it will be more trouble to change it to 440 maybe?" It depends what you want to do with it. I imagine most of the concertinas from that period have been retuned (as has my 1915 Model 21). If you want to play solo, or to accompany your own singing, no problem leaving it where it is. If you want to play with others, some instruments can be tuned to accommodate your old high-pitch tuning. If you want to play with those whose instruments can't be tuned to accommodate you, you have a problem.
  6. A friend of mine writes words to English country dance tunes--turns them into songs. She can then fiddle the tune because she can sing the tune.
  7. Greg and David, you are absolutely correct. I had forgotten about him. I'm sure he also uses a pocket watch (as I do). And as I recall, he drives (or used to drive) a Model A Ford. Given the relatively small number of current concertina makers, the "one" represents is a fairly large percentage!
  8. I notice what appears to be a time card clock on the back wall--probably the old mechanical kinds where you insert your card and then push down on a brass lever to punch in or out. I wonder how many modern concertina makers wear dress shirts and neckties as they work. I suspect that the number is zero.
  9. I don't play the duet system, I don't really understand the charts in the posts above, but strangely, I still find this discussion fascinating.
  10. It let me register, but apparently it's only available in the UK. Or, maybe I did something wrong.
  11. Speaking of Soldier's Joy: at one time the Baltimore Folk Music Society used to get letters from ASCAP (American Society of Composers, Authors and Publishers) seeking licensing fees and listing Soldier's Joy as one on which they represented the copyright holder!
  12. Kathryn Wheeler, thank you for the comment. I had not known about Hebridean church singing and just Googled it, and loved what I found.
  13. Clever. And what anesthesiologist--what any kind of a physician today--wears a head reflector? Talk about archaic but lasting cartoon symbolism!
  14. It certainly is curious. But the description of the EC is quite accurate. That makes it even odder. But I love the card!
  15. Nice ad. I wonder if the person who laid it out knew anything about concertinas. It's really disorienting to see the English concertina displayed upside down to the way it normally would be held. I don't know if Anglo players react to the way their instruments are displayed.
  16. I can understand why Connie M. was annoyed by the former owners name written in several places, but that enabled Mark Davies to identify a former owner and gives us some biography. I found that very valuable. I've longed to know something of the ownership of my vintage concertinas. Wouldn't it be wonderful if there were a data base of owners names along with brand, model, and serial number of their concertinas!
  17. Okay, this is definitely thread drift, but a logical one. WheatSTONE or WheatSTUN? I've maybe only once (from a Brit) heard the "stun" pronunciation, but even in the U.S. we commonly say "LivingSTUN" (as the guy that Stanley "found"). In the U.S. I've only heard and used the "stone" for the concertina brand.
  18. Which raises the question in my mind (hope this isn't thread drift) when did British concertina makers drop the "German" and just market "Anglos?"
  19. Glad this thread was revived. I really enjoyed the recording, and am inspired (I hope) to fix the bellows of my Jones brass-reeded English so experience again that lovely brass sound.
  20. Mr. Crabb wrote, "What follows is my findings and in no way is to be considered an academic paper" Well, I'm a one-time academic historian, and I'd say this is damn good research, clearly laid out. It's also a nice picture into the scale and family nature of this major concertina maker. Which raises the question, should we think of Lachenal as only a somewhat larger enterprise than that of the Crabb family?
  21. Absolutely! I think I got my camera bag from Goodwill. I agree with Dana about the limitations of soft bags. But I think that in many circumstances, they will cushion a fall better than a hard case, which I think would be more likely to transfer the shock to the instrument. And yes, do not, under any circumstances, crash your bike.
  22. I care my concertina in a camera case, so that's protective and light. When I go by bicycle, I have the case attached to me and not directly to the bike. That lets me absorb the bumps instead of the instrument. I'm the 'tina's shock absorber!
  23. I don't know if it was that one, but when I saw him several years ago he was playing an Edeophone-looking instrument, but badged as a Wheatstone, presumably made from the jigs they acquired when Lachenal went out of business.
  24. And three cheers for Mr. Walker for stepping away from this job. That shows class. And cheers to you, Everett, for taking this to the community. I certainly can think of a time that I should have done so!
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