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Frank Edgley

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About Frank Edgley

  • Rank
    Heavyweight Boxer
  • Birthday 01/11/1946

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  • Interests
    Concertina maker for over 20 years
  • Location
    Windsor, Ontario, Canada

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  1. What band did you play with. Fifty years ago I played with St. Andrews Detroit. Then I was pipe major of Scottish Society of Windsor and most recently the Border Cities of Windsor/Detroit.
  2. I compare concertina straps to learning to ride a bicycle. You start off with training wheels, and eventually get rid of them. When you first pick up a concertina, you feel you need to have the straps tight for control. but that's not right. Looser is better so you can move your fingers around to reach the buttons, especially to G row buttons. There needs to be some space between your palms and the handles. Resting the left hand side of the body of your concertina (not the bellows) on your knee will give you control, even with the looser straps. It will get some getting used to, but too tight
  3. His later instruments definitely had a much simpler design. Harold was a very smart guy, and a good friend. This had to be one of his earlier instruments...one that I have never seen. Before I made my first concertina, Harold sold one of his early six-sided instruments to the Windsor/Detroit Comhaltas branch. I don't remember what the mechanism was like, except it used coil springs. Comhaltas sent it back to Harold and he changed the type of action. It may have been just like the one shown above. I don't remember as I was just getting into it, in those days. I seem to remember at the very fir
  4. Depending on who made it, it may be a bellows not using leather, at all. Then softener would probably not do anything to help in any case. An equally important factor may be the depth of the folds. very shallow folds mean that the bellows have to be pulled out more to achieve the same effect. For example, two bellows...one with shallow fold bellows and one with deeper folds. To pull them out to the same amount, let's say 8 inches, the angle that the folds of the bellows makes with the shallow folds may be 60 degrees, but the deeper fold bellows may only need to be pulled out to 30 degrees. Ju
  5. Probably not a good idea to use this pattern as it is too similar to another pattern, which would give the wrong impression of the person who would have it on their concertina. At least I hope no one would deliberately put it on their instrument.
  6. I recently received one of those South African- made anglos with Wheatstone logo. The tongues were crimped in place instead of clamped or riveted. Very poor response.
  7. Another factor in a good bellows is the depth of the folds. Shallow bellows may have seven or eight folds, but never reach good playability because the folds are too shallow. It's simple geometry.
  8. If the leather is that old, there is a likelihood that the leather is very dry. If that is the case, the leather would crack and if the bellows previously appeared sound, it would quickly degrade if played, even a little bit. With all respect to others who may have a differing opinion, I would use a small artists brush and apply a small amount to the gussets and corners, wiping off any excess. Stay away from any glued joints. It may be that the bellows cannot be saved, but there are repair persons who make very fine replacement bellows, in any case.
  9. If you were referring to my post, I did not mention a maker, but Voci is the one.
  10. There is a difference between A Mano and Tipo a Mano reeds in the way they are made, although I am of the opinion that who the reedmaker is makes the makes the biggest difference. With the maker I get reeds from both types are excellent, in tone and response, although I make 95% of my hybrid instruments with A Mano. Tipo a Mano is supposed to mean "hand finished" and A Mano is supposed to mean "hand-Made., according to what I have been led to believe. I don't think the model of accordion reed will get you closer to the "concertina sound," whatever that is. Different concertinas made by differe
  11. It may be that the felt button bushing a causing this...... friction! Remove the end of the instrument. Push a suitably-sized pencil into the hole with a twisting motion, Also using a soft lead pencil rub the lead onto the inner surface of the felt bushing, reducing the friction. Let me know how this works for you.
  12. I agree. There are enough old derelict Lachenal anglos out there to rejuvinate....instruments best put out of their misery or, at least, reincarnate with new reedpans, and bellows. In my experience, most of them had warped reedpans, which made them difficult to get them to play well. Just make sure you do justice to the reeds, and bring forth a new "life" into the world!
  13. I'm pretty sure this is from leather drying out, cracking and splitting.
  14. If you have to take the pieces apart, it will be a challenge to get everything back to the exact size and shape. Even a few hundredths out of the original hex shape with the bellows frames will make the fit of the reedpans very difficult. Of course you will have to remove the bellows gaskets before you re glue. When re gluing and reassembling the bellows frames try using the reed pans within the frames to keep the original shape. i.e. glue parts together, and put reedpan into the assembled bellows frame before the glue dries, and hold using large elastic band(s). Make sure bellows frames are i
  15. If Mike's offer doesn't work out, you can get brass rod from a hobby shop. Instead of relying on just a solder joint, you may be able to cut away some of the corroded arm and use the appropriate diameter of brass rod linked together to what is left of the arm using a short length of brass tubing with a drop of solder so it does not come apart .
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