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Everything posted by RAc

  1. Hi everybody, I hope this doesn't qualify as threadjacking, but I'd like to re-use this thread to point to one of my Crane duet (not anglo) recordings: Smokey Mokes This is a cakewalk, a predecessor of ragtime. Played on my Holden#3 45 button Crane duet. Most non-piano recordings of this piece leave out the trio. I believe this is because it was made popular by Ton van Bergeijks's rendition on his classic "famous ragtime guitar solos" album in which he omits the trio. It does fit pretty well on the Crane, though. As usual, thanks for listening!
  2. Whatever. Music is for the ear, not for the eye, and any notation system is just like any attempt to describe food with words. I understand that you, Lukasz, are a very accomplished instrumentalist, so if that system got you to where you are... great, congrats! If your explorations help others to find their personal key to unlock music for themselves, perfect!
  3. I hope it isn't him because the seller writes "A developing hand condition means I can no longer comfortably play." Needless to say, it's a terrible thing to happen to anybody...
  4. well, maybe. Then again: there are also many arguments in favor of all of the other layouts. I tend to get more and more weary about comparing layouts. There is no such thing as "the universal perfect" instrument. If there was, there'd be no other layout, period. It's more important to get started on any system than spending hours and hours discussing back and forth the respective pros and cons. I do feel comfortable with the Crane right now, but if I had started on another system, I'd most probably be as proficient (or unproficient, doesn't matter how you look at it) on that system as I am on the Crane now. The usual piece of advice if you're insecure is this: Print out each layout in +-1:1 size on regular copier paper and do some "air playing" on that paper. It'll give you a rough idea of what your brain will expect when it comes to the "real thing." Then purchase an instrument with the layout that appeals the most to you. If it still doesn't feel right for you, it isn't. Any reputable dealer will give you an option to exchange the instrument for something else with bearable loss.
  5. Great, thanks, John, a very useful chart indeed! One addition: Transposing a tune on the Crane a Fourth up (one row up) or a fifth down (one row down) is a very useful and enlightening exercise and comes fairly easy as long as one remembers that *exactly one finger* moves from an inward to an outward column (or vice versa) in that process. That follows inevitably from the circle of fifths and (in my interpretation) paraphrases what Lucasz wrote earlier: Music theory coming alive.
  6. Good idea, Don! On my Wheatstone Crane I had Dave Robertson mount a slightly longer button in middle D position at reg maintenance, and on my Holden Crane I had Alex mount one with a slightly roughened texture at the same position (Cranes have a similar issue as Haydens, just 90° rotated). So haptically enhancing the keyboard to locate your home position manually is a good idea, and there are many ways to skin a cat. Yours is pretty nifty, congrats!
  7. As I'm sure you know yourself, David, the physical bandwidth available on any internet connection is determined by the slowest link in between your end and the other end, and there may many in between. I wouldn't worry too much what physical medium your home is equipped with. Try the following: There are many sites on the internet that "test your DSL speed," e.g. https://speedtest.chip.de/ (or pick any other one). They all work the same way; they pump data back and forth beween your end device and some server and then measure the throughput. For the heck of it, I tried the same site with several of my end devices: A tablet using WiFi over my WiFi router, the same tablet with a USB-C docking station hooked up to a physical ethernet cable to the router, my main frame computer, also using an ethernet cable, and a lap top with significantly less computing power, using both WiFi and ethernet. Guess what? The performance differences were marginal, even going through the WiFi bottleneck. Up- and download speed were practically identical in all scenarios. That means that the performance bottleneck was somewhere in between my DSL end and the server end point - in other words, something I don't have any control over whatsoever. So again, the question which software to use, which provider, which physical access to the internet is of some concern, but the thruth of the matter remains: It CAN turn out decently, but you will never ever get a guarantee when and why it does and when and why it doesn't. So Jody'a approach is right on the spot: Don't expect anything, so you can only get positively surprised.
  8. Is it time to outnerd each other? ;-) If so, here's my (for the public completly useless) remark: When using UDP, you trade off latency for quality because the "late" packets will (as you point out correctly) be discarded instead of delaying the stream, leaving "holes" in the sound experience. Depending on how big and frequent the holes are, "intelligent" software may up to a certain point extrapolate the contents of the holes and fill those in with sorrounding data. May or may not be a good guess. So whereas TCP based streaming protocols buy quality with higher latency, UDP based protocols buy lower latency with lower quality. Win some, lose some, I guess. In any case, we certainly agree that the protocol architecture of the internet can not guarantee a high quality real time virtual music cooperation experience, but if all benevolent circumstance unite (well thought out software along with digital proxomity between nodes, sufficient computing power on both sides, sufficient available bandwidth AND no wolves howling against the full moon) it may work satisfactorily. Now let's NOT bring up the issue of ecological footprint needed to satisfy all of the requirements...
  9. @Jody: Well, there is nothing to dispute, really. If the music you use for jamming can bear the latency (as you say yourself, slow blues is an example of music that can), everything is fine. The other issue is that under optimal circumstances, the latency CAN be tolerable even regarding professional requirements (I've heard about pro bands doing virtual concerts over the internet). Unfortunately, however, it is nothing controllable for the musicians involved, not even against $$$. If everybody who jams together is within a close and high quality digital proximity (meaning there are few "hops" that every individual packet must pass before reaching the destination and there is negligible packet loss), the overall turnaround of a TCP data stream can be very small. So, if you and all of your buddies live in the same neighborhood in, say, NYC (where there is a sophisticated internet infrastructure), and all of your have the same internet provider, chances are that almost all of your internet packets are passed back and forth only across the infrastructure (routers etc) that is local to your neighborhood. If also you are fortunate enough that the bandwidth can bear all of your other neighbors exchanging high res cat videos concurrently, your results can be very satisfactory. But nobody will be able to give you a guarantee that this happens all the time. All it takes for your session to deteriorate is a stray packet that has to take a detour over Singapore (for example when any router's bandwidth in the proxomity is temporarily exhausted, or there is a disturbance that enforces temporary rerouting. Can happen always and everywhere). As a corollary, the further your internet nodes are digitally away from each other, the more likely you will suffer from latency problems. Since there is a rough correlation between digital and physical proximity, your chances of a satisfactory musical cooperation experience sink with physical distance. So the bottom line is that the software you install on your machine is not in the critical path. Although there are doubtlessly some packages written better than others, not even the best software can make up for the bottleneck outlined by Paul and David.
  10. Hi sprunghub,


    I could probably help with the transaction. We *may* be visting Wales in June, so I may even be able to drop off the parcel to a post office once in the UK, but given these times, I can't make a promise.


    There are two reasons why German sellers may be hesitant to sell outside continental Europe: 1. The money exchange process is totally unpredictable. You may lose a good amount within the banking system. Been there. 2. Insured shipping from mainland Europe to the British isle is perversely expensive (when I sent my Wheatstone to Norwich for maintenance, the cheapest I could get for insuring the value of the instrument was around EUR 100), so if both sides want to be safe concering insurance, it'll drive the price up. If I were in the middle and would need to send someone else'e concertina from Germany to the UK, you bet I'd want to make it as safe as possible...


    Send me an email if you think that's an option!


    Stay healthy! RAc


    1. Sprunghub


      PM forwarded....

  11. RAc

    Christoph Pelgen

    I've uploaded another tune written by Christoph: https://soundcloud.com/rac-13/hannah-schottisch-christoph-pelgen Unfortunately, this is not very well suited for diatonic instruments as it modulates between a minor and major key of the same name (G in this case). Christoph does that quite a bit. Played on my Holden#3 Crane duet. I've been experimenting with diminshed chords on this one. I just found out about those recently. There is limited use to diminished chords in dance music, and there is always a danger of overusing them, but if applied moderately and tastefully, they can add a subtle and zesty flavor to a tune, similar to what herbs from the Provence can do to both ordinary and extraordinary dishes (now how's that for a metaphor? ) Stay healthy and keep on playing! It's one of the things that keeps me going in these unusual times...
  12. Thanks, Paul, for that comprehensive and very useful summary! In particular, the disillusioning section on latency should make it very clear that (regardless of how much more bandwidth one can shell out of the internet) it will be impossible to accomplish good enough turnaround times for Online jamming purposes. Which for me is good news because (even though and probably because I'm a computer pro) it implies yet again that there are occasions in which real human interaction and togetherness can't be replaced by machinery. I'll be happy to be proven wrong though! Let's hope, then, that the time after the crisis will leave enough room to make up for all the isolation forced upon us now. For the time being, though, let's try to be creative concerning musical cooperation. I remember Alan posting a recording a few years ago onto which everyone was encouraged to piggyback his/her own addition. Unfortunately back then the resonance wasn't exactly overwhelming. So why not try to do something like this: I encourage everyone here on the forum to download a favorite track of another member's soundcloud or youtube presence, play along, record the mixture and repost the result to the forum? Something like a TOTM 2.0?
  13. Thanks for smoothing the path for all of us, Jody! How fast exactly is your broadband line? I couldn't find exact numbers for JamKazam's requirements. In our rural area of the planet, we need to make do with 6M/s. Sufficient enough for most videos, but will real time jamming work with it? Thanks! Edit: I believe I found the answer on https://www.jamkazam.com/landing/jamclass/teachers . There is a list of system requirements as well as a link to Ookla's speed measurement utility which reports 1,7M upload speed (500k are required), so in theory it should work. Now all I need is an OS that supports both JamKazam and my external sound card...
  14. actually, the real absurdity is that in a true emergency situation, one of the last things one will need to stack up on is toilet paper. At least as long as there is fresh water, and if there is not, toilet paper is the least thing to worry about. The German newspapers currently cover every minute detail of the C crisis, and psychological analyses of what and why people stack is a considerable percentage of that coverage. Human nature in all of its facets... 😉
  15. I love the idea conceptually but - again - I will never ever in my life voluntarily participate in anything that has Facebook written on it. FB is wrong, evil, bad. Period.
  16. Great, please keep us informed about the progress! Hopefully "swarm intelligence" will help resolve the issue! 2nd edit: I'm probably paranoid, but I suggest you put some isolation material (baking sheets or the like) in between the folds during compression. I've read somewhere that one of the things you don't want to happen is the liners glue together when they are moist (which also applies to the glue below them) and touch the neighbor liner...
  17. Did I read this correctly that the problem did not show until you fitted the gussets? Meaning that with just the linen liners glued on, the bellows closed fine? To me it looks as if the folds somewhat bulge. On the attached detailed picture, there is one side that appears to have a fairly straight edge (the one marked red), whereas the other ones sort of look like the linen liner was glued on too tightly, thus forcing the two cartons they join into a curved shape. Yet I wouldn't have an explanation why this didn't show until the gussets were fitted. Do you have a picture taken before that? Did the outer edges of the folds look like they do on this picture as well?
  18. I had specifically asked Alex to mount socket head end bolts on my Holden #3, and I'm very happy with them, both visually and functionally. Alex prefers straight slotted screws, and I guess so do most of his other customers. I guess it's one of those things where a number of folks want their instruments to look vintage. On mine the reed frames are fitted with slotted head bolts which is fine with me (the idea is that those are not maintainable parts, so there is no need for me to ever touch them, whereas I need to take the ends off every once in a while). So the combo socket in the reed frames and slotted in the ends to me seems somewhat strange.
  19. Thanks for the hint, Geoffrey... I just can't resist quoting the picture subtitle: "with a captive specimen held on deck." Given that the concertina is in the centre of the picture, the obvious question that comes to mind is where they captured it...
  20. which of the three objects North of the Penguin picture are we referring to? The rightmost one to me looks more like the bottom of a bottle. Or the two rightmost objects together could be visible parts of a vase or similar objct (see zoomed in attachment). The leftmost one to me is way too blurry to be doubtlessly identifiable as a concertina... but maybe someone has better tools to recover the details?
  21. I'd just like to add that I believe John's statement was misread. At first I felt sort of repulsed by its seemingly exclusive implication, but knowing John, I'm fairly certain that that's not what he meant. His argument, I believe, is simply a logical one: If a tradition is defined by its oral and acoustic distribution, then it is a logical corollary that any other path of distribution is necessarily not part of the tradition. @Anglo-Irishman: please correct me if this is a wrong interpretation! This is different from insisting that those who have not grown up in the tradition will never be part of it. There are occassional instances of regional cultures in which you won't even be looked at unless your great-great grandparents have already known each other in that very place. The musical continuation of this attitude is that you're only accepted and/or respected if you play only the tunes that your ancestors have already played note by note. If you've done that for 50 or 60 years than you are allowed to make your own tunes and/or change a few notes here and there as long as it still sounds like in the olden days (in Germany, this is not unusual in particular in southern regions, and I'm aware of certain areas in Ireland and Scotland that work in similar ways). Most folk traditions I'm in contact with are actually very open minded and will welcome you into their tradition - as long as you're willing to listen in (;)) and play by their rules; conversely, they'll be willing to let you present a few of your own tunes as well. If the musicians are good, they'll make something out of it in their own realm. But that's sort of a different discussion. I just meant to help clearing up something that's been bothering me in the back of my head...
  22. Hi Gary, I just downloaded the Ebook. The thing that strikes me funny is that instead of real links, there are QR codes in the Ebook as well. I don't think that makes sense. Do you need two smartphones - one to read the Ebook and the other one to read the QR code off the first smartphone's screen to go to the video? For the printed edition, the QR makes sense of course, but what is the idea behind the QR in the Ebook?
  23. It would likely be a conical spring. Following Dana's advice I experimented with those when I attempted my 3D printed action board. They are acceptibly easy to wind yourself. See here: Forum link on button springs
  24. I won't argue here as there is total agreement about the end. Again, though, it's not black-and-white. In a session context, I look at written music as training wheels. Of course your ultimate goal is to do without them, but as long as they keep you from falling, noone should ridicule or snort at you for using them. The more frequently you play the tunes in a session context, the better you can do without them. Again, we're in unison here. Should it? Shouldn't it? I think it's a moot question. Every session is different and made up of the people attending it, so these questions get re-decided with every session context. In my experience, the session is the playground. Other musical contexts such as studio recordings, dances, concerts etc. are the "real thing," and different rules apply by definition. Whenever I have a chance to play in such functions, I play along only where I feel confident enough and know the tunes, period. In most sessions, the focus is on the joy of making music together. Of course it's much more satisfying when I can play on eye level with the experienced musicians (which happens more and more frequently the more sessions I attend), but whenever the circumstances allow it (mostly meaning that the chances of my imperfect playing destroying a piece approximate 0), I go on an exploration tour that may or may not involve written music. That said, I'm with you here again: When in Rome... meaning the first and only rule is respect the rules. If the session collective scorns the usage of written music, I'll respect that.
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