Frank Edgley

With no disrespect intended, electric devices are not concertinas. If you're going electric it may as well be a piano keyboard, Why not do away with all musical instruments and just use a keyboard that mimics the sound of trumpets, clarinets, saxophones etc. The technology is available.

Is the button too short or too far away from the handle?

A long time friend has a Crabb, and an early Suttner. I don't usually sell used instruments so I am not sure what they would be worth. Any suggestions?

I don't think some of the modern glues would not be a good idea. What if you want to remove it? It would be very difficult. If you had to redo it the glue itself would remain on the bellows frame and would provide an an unlevel surface for the replacement gasket. A water based glue would be better.

Years ago, the first Dipper I owned had this problem with the very highest note. For all the time I had it it's was very difficult to get this note to sound. I have since found that it can be improved, somewhat with the set of that reed (RS G row 5th button pres) This is a very delicate adjustment. It needs to have a small awl and razor blade to do it. First press the tongue down with the awl so that the tip is just below the surface. near the base of the reed so that the tip is level or just below the surface of the frame. Then lift the tip up with the razor blade, while keeping the base of the reed low so that the tip of the reed is even or just above the surface of the frame. This will put a very small curve in the reed tongue. This is very much a trial and error adjustment, but it can improve the response somewhat. We're probably talking tenths of a millimetre, if not less. Fortunately, few melodies need that note!

In my years of just doing repairs, I found that cracks were not that uncommon with Lachenals and Jones anglos. I never cam across cracks on Jeffries or Wheatstones.

If it is a Lachenal there is a strong possibility the reedpan or the action board, or both have warped. That means there is a gap between the tops of the reed chamber dividers and the action board. If it is the action board which is warped you may put a straight edge across the tops of the chamber dividers and find them straight, but there is not a good seal because of the warped action board. This is much more difficult to fix.

I suggest putting a razor blade under the tongue to support it. Also a small clamp just below where you want to put the solder. This will mitigate the heat going too far down the reed blade. Otherwise there is a chance the reed may lose some of its temper (springiness). Also be careful the solder does not extend outside the limits of the reed (stick out beyond the reed edges). Then you would need to remove the excess with a fine file. What I have found useful is a small, fine triangular file which can be found at a hardware store.

The critical factor is the thickness of the leather.

Pictures would be helpful. Traditional reedpans are completely different than hybrid-type reedpans. On a related topic: Humidifiers can be a dangerous thing. Usually, they introduce moisture into the concertina and can cause serious rust problems with the reeds. I had a concertina sent to me not only with a bit of surface rust, but deep pitting. The reeds were severely damaged, and were way out of tune. Yes, the reeds could be re-tuned, but this caused a significant shortening of the life of the reeds. The warping of the reedpans is a serious problem. When I only did repairs over 22 years ago, I saw a lot of warped reedpans, usually on cheaper Lachenal anglos, but only one Jeffries instrument.; very few Wheatstones The difference was the wood used. Warped reedpans on traditional-style concertina can be difficult to set right because the dividing walls of the reed chambers must touch the action board or the air pressure in each chamber will not be the same resulting in duller tone and less volume.

The reed tongues are the same with the Heritage and New Model, but the frames are different. The New Model has rectangular frames with 2 concertina tongues (push and draw.) This makes construction easier, and eliminates the possibility of the reeds coming loose. There is noticible difference in tone between the New Model and the Hybrid instruments, with the New Model having a stronger fundamental tone with fewer upper harmonics i.e. concertina tone. It is the concertina used on the video with Matt Heumann. It is also the concertina I usually choose to play either at home or when playing out at gigs or sessions.

I use a different way to identify which reed. I'm guessing it would be R-1-5-P (push) This is a difficult reed because it is so small. Alex is right. The larger the chamber the less air pressure, and despite it being a small reed, it needs a higher pressure unless the reed tongue is set just right. If you want to send it to me I will readjust the set of the tongue. 2346 Meldrum Road Windsor ON N8W4E4

I definitely does not harm the reeds.

All of these factors, mentioned above, do have effects on tone. The shape of the reed has the greatest IMHO, followed by all the others. I have built concertinas with reed chambers radial and parallel. There is a subtle difference in sound.One is not "better" than the other.....just very slightly different. We're not talking about Stradivarius here. A good tone is a good tone, even if slightly different. Even the best violins made today have different tonal qualities. But these are concertinas. listen to CDs of the best players. They all sound a bit different. Some of it is technique i.e. straight row player or cross row, and there are significant differences among cross row players. Also aggressive vs subtle. And don't forget that concertina tone changes with the the amount of playing, just like most other instruments.