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Frank Edgley

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About Frank Edgley

  • Birthday 01/11/1946

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    http://www.concertinas.ca
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  • Interests
    Concertina maker for over 20 years
  • Location
    Windsor, Ontario, Canada

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  1. If they are stainless, it is surprising they were damaged without a significant event.
  2. I would suggest you have it repaired by someone who is experienced in working with metal. A hammer shouldn't be used directly as it will probably leave dents which could not be removed. Not being able to see the damage limits my suggestions, but if it is a perfectly flat grill made of nickel silver, I might try putting it on a piece of wood with the curved surface in the "up' position, and lightly tap on it using another piece of wood tapped lightly by a hammer. In that way you should not have any hammer marks on it. A photo would be helpful to see the grill Is it a perfectly flat grill or does it have a raised edge? What material is it made from? etc?
  3. That would be 164 Euros for one set or 1640 euros for 10 sets. (minimum order) Brass is better!
  4. I cannot stress this enough: Do not put a humidifier in your case! I have seen reeds virtually destroyed by doing this. Rusted, not just with surface rust, but with deep pitted rust. If you are concerned, buy a Storm Case by Pelican and keep your instrument in it when not playing it. They are 100% airtight! I have been playing concertina for over 40 years: 20 years as a repairer/player and 20+ years as a maker/player. I had a Dipper for 20 years and kept it on the mantle. I keep the Heritage instrument I made for myself on the mantle, as well. No problem! the instruments I saw most problems were antique instruments like Lachenal Anglos and Jones Anglos. The quality of wood used made the most difference. I never saw a Lachenal Anglo without warped reed pans, but I never saw a Jeffires so inflicted! The choice of wood by the maker and its preparation made (makes) all the difference. BTW, I don't have a functioning humidifier on my gas furnace.
  5. The comments about "expensive woods" driving up the price of a concertina is not really accurate. There is comparatively little wood used in the body of any Anglo , or any other type on hexagonal concertina. Many people would be able to make a lower-priced concertina, if they used second-hand reeds, and taped up a bellows. This would be an interesting project. But would it make a concertina that would be around in 50 or 100 years? When I used to repair / re-tune antique instruments, some of them were very old. The ones that were made with quality materials and parts could be restored much more successfully than other instruments that had inferior designs and materials. These are the instruments, like Jeffries Anglos which, even today are in much demand. Other Anglos, like Lachenals usually had warped reedpans, and inconsistent reeds. Warped reedpans make it much more difficult to have a consistent sound as it was very difficult to have airtight reed chambers. Some reeds lacked the consistent temper of steel so that some reeds were softer than others, giving an unbalanced sound. Within one instrument, SOME of the reeds had tight tolerances and others you could "drive a truck through." Yes, it would be an interesting and challenging project. One factor that was not mentioned was TIME. To make a quality instrument it takes time, as well as a good design. That is the biggest factor in the expense of a concertina. Yes, if you are doing this as a hobby-like project, time is really not a factor, but if anyone were to try to create a business selling instruments like this, it would not do concertinas, as a respected instrument, any good. It's kind of like making ukuleles out of cigar boxes, which some people do, but, while "cute" does nothing to add to the respect of ukuleles as a musical instrument. For a while I thought ukuleles were a bit of a joke, until I saw some and heard quality ones and saw George Formby play one.
  6. When cutting valves it is important to note that leather can have a grain. You can't usually cut the leather for valves any direction. If you cut in one direction you will get springiness, but not if you cut in another direction. Check this out with a small piece before cutting valves. At least this has been my experience. This is not to say all leather types of leather are appropriate for valves.
  7. The thickness of the leather is important. If you use leather that is thicker the than the original there will be less clearance between the pad and the action board. This will affect the volume of the instrument. You don't want to have to bend the arms because the pads are not opening enough. Very few concertinas have fulcrums that are adjustable in height. Personally, I use the thinner pad material. This does not create noise. There is enough padding the mute that.
  8. Carefully trace the holes in the bushing board onto a piece of 1/8 inch plywood.. Drill them out using a lipped brad point drill just slightly larger diameter than the buttons. For example 1/4 inch buttons need 17/64ths of an inch hole. Doesn't have to be fancy, just accurate. Outside shape can be a rectangle or whatever, but not too large as to interfere with you work..This should hold the buttons up as if the end is on. Then when the end is replaced, it should line up.
  9. This sounds like my first concertina.....an East German make that I got around 45 years ago. After a month or two one of the reeds broke. The local accordion shop tried but could not repair it. All the reed tongues were mounted on one frame for all reeds on each side. Not knowing where to get another concertina, at the time, I had to give up playing for a few years until I found a Bastari at Elderly Instruments in Lansing. It was not a great instrument, but much better than the East German one. I now use the East German one bellows for one of my tuning jigs. So good luck to you on this project.
  10. Difficult to say without hearing it. Or playing it. if it is a problem it may be the set of the reeds, or air-tightness of the chambers of the reedpan. If it is "mellower on both sides, it would be surprising if it were a defect, but still possible.
  11. There are several reasons a button could stick, so it's difficult to say what the solution might be. Also, there are different types of mechanisms, which makes analysis tricky. If you were to take the end off so as to expose the mechanism, and send a photo, it might help.
  12. There are probably buttons available from old scrapped instruments.
  13. If the reeds are steel, it might be useful as a source of reeds. However, even that may be a risk. Some Lachenals had reeds which were fairly good and some, in my experience, you could "drive a truck though." If the instrument was not a mahogany or rosewood model, but was made of ebony it might have a chance to have better reeds.
  14. What do the reeds look like? Are they screwed down?
  15. This is an Edgley Professional Model. Please check out the Edgley Concertinas blog at http://edgleyconcertinas.blogspot.com .
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