Frank Edgley

I'm not sure how plating could significantly change the hole positions. The amount of metal applied is extremely thin. Silver plating is not that expensive, unless you are also allergic to real silver. I got several nickel silver ends plated with real silver for $50 per pair, and then found a plater to do it for $37. You need to deal with the plater, not with a retail outlet, like a jewellery store to get those kinds of prices. Getting new ends made and new buttons is a lot more fuss and expense for what should not be that big a problem.

Tuning is an art. I have known people who have tuned their concertina without a tuning jig, but it takes much longer, and you are most likely to get tired of doing it and say, "That's good enough," due to fatigue and frustration. A tuning jig consists of a spare bellows which can be attached to the edge of a table wth a platform attached to the top where the reed can be sounded. An accurate measurement of the tuning of each reed must be taken while the reed is in the instrument. Pressure must be moderate and consistant from note to note. Then the instrument disassembled and each reed "corrected" by the amount shown when it is in the instrument. You can't just tune each reed to zero, but must sharpen or flatten each reed by the amount it is out when in the instrument. This is usually1 - 3 cents. If you flatten a note it will possibly affect the elevation of the tongue, which make the reed stall out at normal or higher pressure. If something doesn't appear to make sense, put it all back together and check again. Taking the "in-instrument" testing is where most mistakes are made. Better to double check than to go off madly tuning a reed 5 cents the wrong direction and the having to correct it 10 cents the other way.

I used to make the standard symmetrical handstraps for my concertinas, but once I tried the "cut-away" design, I was sold, and make them all that way now unless asked to do otherwise. This has only happened once. I'm guessing that there are other factors involved here--- the design, strap material, and how the straps are adjusted. What seems curious is the fact that you say they are tearing. This suggests that the material may not have been very supple, and this would make the straps not lie across the back of your hand comfortably.

I expect that this compilation will be of the same quality as the Anglo set. I listen to it over and over at the workshop, and always find it entertaining. The production quality of the CDs is excellent, as is the booklet which accompanies it. As for how "international" it is (or the English one will be) we have to bear in mind that while it may be a great concept for concertina players the whole world over (eg. Mexico, Lithuania, Lapland, Afghanistan etc) to be on the CD, such players either do not exist, are unknown to Alan and Roots Records, or do not play at sufficient standards to qualify. The Anglo International is truly international, as it contains tracks from various countries, not necessarily the whole world. Anything that includes more than one country is "international." I commend Alan and Graham for their work. I certainly feel priviledged to have been included on the Anglo International!

Is it really the button getting stuck, or the action getting stuck at the fulcrum rivet? Does it continue to be stuck with the grill removed? The guide pin and guide pin hole are not really a tight fit, so I can't see the pin sticking in the hole.

Stella24: "i use the clear UHU glue to attach to the beads, i think Frank Edgely uses this." Frank: No, I use Weldbond. It is a white glue that dries clear. It also dries with a bit of flexibility. It is important to use a small disc of soft leather (around 1/16" thick by 3'16" dia.) between the top of the cardboard part of the pad and the leather nut to give a degree of flexibility so the pad will seat properly. I used to use a UHU stick (not the liquid) to glue down valves on traditional-style instruments, but fish glue or hide glue is probably better. BTW, a well-known woodworking magazine did testing on various types of glue on various kinds of wood. It was a carefully controlled test. There was no difference between the hot hide glue and the liquid in terms of holding power, but the liquid is certainly easier to use.

Organ Supply Industries in Erie Pennsylvania sells the proper felt and leather already glued. Choose the thinnest. All that is needed is to glue poster board or Bristol Board to the felt side, punch them out and add small leather dots on the centre of the bristol board.

Just to add my nickel's worth, I agree with Allen's original sentiment. I said as much a few years back when concertins.net changed its format. I, personally, would feel more comfortable communicating with people with real names, but I am a little more used to it than when this first started. I'm not sure what reason there is for this "custom", but I have always tried to be straight with people I speak with and look them straight in the eye when I do. This is a little like talking with someone who feels like they need to wear a mask to conceal their identity. I know forums like this have their own culture, but it runs counter to what I was brought up with. I guess it shows my age!

Another though---could it be that the reed is just loose in the frame? A drying & shrinking of the wood due to humidity changes is often the culprit, especially on older instruments. A paper shim would work in that situation, as well.

I'd be very reluctant to mess with the slot for various reasons. Sometimes, the fix Richard outlines will do the trick. If the reed seems to be touching at the tip, putting a piece of paper (I like to use a piece of gummed label so it won't fall out next time the reed is removed) aourund the tip will move it back enough to clear the edge of the wood. More often, it is the sides of the brass frame which are pushed inwards causing it to come into contact with the tongue. Richard's solution is especially effective in that case. In any case, my caveat has always been, "Don't do anything which can't be undone." In this case don't remove wood from the slot.

JIM: "The measure may be in the instruments selected for recording. As yet no great concertina player has recorded on a hybrid." This one's a real maggot pie. Too many assumptions are required to accept even arguing it. Does YouTube or Frank Edgley's web site count as "recorded"? What criteria are used to deem someone "great"? Why should that be "the measure", and what exactly is it supposed to be a measure of? Etc." FRANK: This statement that no great players have recorded on a "hybrid" (I dislike that term) is more complicated than it may seem. First of all what, defines a Great concertina player? Certainly one who has established himself or herself over a period of time as a very good player. Modern Italian-reeded instruments have not been around long enough to have been available when these greats were learning to play and establish their reputations. Second, these great players have become comfortable with their instruments, and have no reason to change. It is asserted by some that hybrid instruments are very good, perhaps in some cases excellent instruments. Noone is claiming they are better than the best vintage instruments that great concertina players use. (BTW, how many great Irish players use Lachenals, Connors or even Crabbs?) Third, most recognised great players in the Irish tradition, are from an area where there are probably more vintage instruments per square mile than anywhere else on Earth. These have, in many cases, been passed on to younger members of the family as older players have stopped playing or have passed on. Some of these players are starting to be recognised as great players. Also, in Ireland, one cannot underestimate the importance of tradition in selecting an instrument. Fourth, it has been mentioned that Asher Perkins has appeared on my website playing one of my instruments. I contend that he is as great a player as many of the younger players coming up in Ireland. He plays weekly in the Detroit area---unfortunately not an area where he would normally get the attention his playing deserves. However, he did play at the Kennedy Center for the Performing Arts a while back---on his Edgley concertina. While I do not in any way claim to be a "great" player, I used an Edgley to record on the Anglo International CD Compilation, and even though I have a Dipper, I used it on only one of the three tracks. On that recoring were Chris Sherburn, Mandy Murray, Noel Hill, Niall Vallely, Mary McNamara, and Kate McNamara. I believe that the tone of My Edgley stood up well in comparison with the vintage instruments, and certainly did not sound "accordion-like". Tom Lawrence in also a very good player---good enough to be included on this same recording, also playing on an Edgley. Perhaps that is the problem with sites like the wikipedia. Anyone can go on and make statements & generalisations without the benefit of impartiality, knowledge, judgement or experience, and make statements which a casual reader may think true and accurate. I much prefer the wikipedia posting which is less jugemental.

I'm pleased to say that my concertina instructional DVD is ready & can be shipped in time for Christmas from the Buttonbox, Elderly Instruments or myself.

If you want a concertina that doesn't make annoying clapping noises as you play, I would recommend the felt layer. You would be asking for a whole lot of extra work, bending the arms unneccessarily, and potentially damaging the instrument. A small bit of button height adjustment may be required when using standard pads, but very minor compared with bending all the arms. A set of pads, ready made is not that expensive and will probably be the last set you will need to install for quite a long while. Definitely do them one at a time, and use proper mounting discs (not sure of the official term) so there is a bit of flexibility at the leather nut / pad joint. This will help the pads to seat better and provide a better seal against the action board. Lachenals are about the most difficult concertinas to repad and get absolutely airtight for a variety of reasons. I could go on about technique to do this but... Anyway, you have a valuable instrument. Getting someone who has done a lot of these (a repairperson) isn't an entirely bad idea.

Miclin was the second concertina player I saw in Ireland, back in 1992. I had just had a few tunes with Francis Dronet at the Royal Spa. Afterwards we went around the corner to the Roadside, and Miclin was there. The session had just finished. He didn't have an instrument with him, that night, but he saw my concertina case, and asked if he could play it. He was obviously not in great health, but you could tell that he had been a very good player.

I've always had mixed feelings about the term, "hybrid." That's why I put it in quotation marks. The implication is that it is somehow not quite what the next word calls it, --- a concertina. I understand that there should be some way of describing the types, but I don't feel the term "hybrid" does it justice. What makes it a hybrid? The fact that the reeds are two to a frame? Some of the 19th century English made instruments put more than one reed per frame. Colin Dipper showed me one. He called it a concertina. I believe that one North American maker is / was looking into that way of construction for his as-yet-be released duet. He calls it a concertina. Is it because the reed tongues are riveted instead of held down by small screwed-down bars? Some late 19th or early 20th century Wheatstones did that as well. -Still concertinas! The differences between instruments? It's not necessarily tone, as tone varies widely from maker to maker, even among "vintage" intruments. It's not response, as I outlined in my previous post. It's not even quality of workmanship, as some so-called " hybrids" are made with just as much workmanship as some "vintage instruments. Don't jump all over this now. I'm not talking about Dippers, Jeffries etc. These instruments and others like them stand alone for a lot of reasons, but the present method of categorising is misleading and inadequate.

I used a four and a half year old Edgley to make the DVD.

While some may choose to make generalisations about concertina "sound & response", I'm glad to see that not all contributors to this thread have taken this tack. There is as much variation in tone & response among "vintage" & "vintage-style" concertinas as there is between those instruments and the so-called "hybrids", and I would suggest that it may not be very "scientific" to make general statements based on one's experience with a few instruments. Jeffries do not sound like Wheatstones, or like Lachenals etc. In fact, depending on the model and vintage, Wheatstones do not sound like other Wheatstones. A Wheatstone Linota, for example, does not sound anything like a Wheatstone anglo of the early 1950's (still the original company.) "Hybrids" by one maker do not necessarily sound or respond like "hybrids" of other makers. As one contributor has inferred, there was, and is an evolution of sound not only by the old makers, and those who today make similar instruments, but by those of us who make the modern "hybrids". I know that the instruments I made seven years ago do not sound like the ones I make today, as I have been modifying the way I make instruments to produce the "best" sound I can. I know this is very subjective, and all I can do is to make them to please my own ear. As to the comment that there is a difference in response between vintage and hybrid, that again depends on the instrument. While I personally like the tone of most Lachenals, for example, I have yet to find one (and over a period of 25+ years I have played & repaired many) that could match the response of any good quality "hybrids." In fact, the very best "hybrids" will give some of the better "vintage" instruments a run in terms of response. While the top players in Ireland, who have the ways & means to do so, play Suttners, Dippers, Jeffries, and Wheatstones, as a rule, there is a growing number of younger accomplished players playing "hybrids." eg. Tom Lawrence, Asher Perkins, Brian Hart.

Announcing a new teaching DVD by yours truly. This is a series of lessons on DVD, covering the basics of holding the instrument, basic scales, simple tunes, gracenoting (cuts), other embellishments, and chords. This is a professionally produced DVD, which should be of value to anyone wanting to learn to play the anglo concertina, especially, but not exclusively, for Irish music. It also includes a small booklet. Eighteen chapters. It could also be used in conjunction with my tutor book and CD. Contact Frank Edgley at edgley@concertinas.ca . It is also available from the Buttonbox.

Announcing a new teaching DVD by yours truly. This is a series of lessons on DVD, covering the basics of holding the instrument, basic scales, simple tunes, gracenoting (cuts), other embellishments, and chords. This is a professionally produced DVD, which should be of value to anyone wanting to learn to play the anglo concertina, especially, but not exclusively, for Irish music. It also includes a small booklet. Eighteen chapters. It could also be used in conjunction with my tutor book and CD. Contact Frank Edgley at edgley@concertinas.ca . It is also available from the Buttonbox.

"The answer: as your playing develops you learn to explore the music and the instrument in greater depth." Reply: I think that's the point and the reason so many people choose the 30 button over the 24, 26, 28 etc.----"just in case I might need them someday." Chances are, most people, at least those playing Irish music, won't ever needthem. Jacqueline McCarthy is a top Irish concertina player who gets along quite well with her 24 button instrument. At her level of playing, and with the music she chooses to play, she will never need them, as I suspect is the case with most "Irish" players. However, that being said the opposite appears to be true. Most Irish players prefer to play 30 button instruments over 38, or 45 button instruments. It's not always the case as those who just must play a Jeffries often cannot find a 30 button Jeffries, and so play one with more buttons, out of necessity.

I am no longer making 24 button concertinas. The main reason is that most people did not want them. True, you can play most Irish music with significantly fewer buttons, but I think the general psychology may be that "more is better" or that a concertina with fewer buttons is somehow less of an instrument. Also, I think some customers thought that if they were ever to need to sell their instrument, a 30 button would be easier to sell---probably true. Why not make them for the few people who want them? As I have stated before, I get my metal grills precision cut by a laser. This enables me to make highly precise grills (much more accurately than hand cut ones) out of stainless (which should never discolour) with the saving passed on to the customer. My minimum order for the laser cut grills is 30 sets. I have never had even 30 enquiries about the 24 button instrument, so you can see that keeping large, costly amounts of inventory sitting around is not a practical thing to do. Sure, I could cut the grills by hand, but they would be more expensive, especially if hand cut from a hard material like stainless. The cost would go up, and customers on the waiting list would have to wait longer. This way the product is improved, although there is only one design available for the metal-ended concertinas. I could make a 24 button instrument with either of my wooden-ended designs, however, how much would it save the customer? It would save a small amount for the reeds, mecanisms, and tuning, but all the other costs would remain the same. Making an instrument with 80% of the reeds would not result in an instrument of 80% of the cost. I guess, if someone really wanted a 22, 24, 26, or 28 button instrument, with wood ends, I would make it.

Anyone getting the opportunity to take instruction from Gearoid should definitely take it. He is a very effective teacher. Gearoid's style is unique, and he is one of my favourite 2 or 3 concertina players.

I just watched this on the computer. My first impression is, "Who is that old guy?" Oh, well!" If you're interested go to www.comhaltas.ie/music and in the search box type in frank edgley and click on the "GO" button. Maybe part of the reason for the haggard appearance is the fact that it was 1:00 AM and I was sitting around watching James Keane (button accordion) being interviewed and playing. When it was over, I got up to leave when Jimmy Thornton (a Chicago musician) said, "You're up next, Frank." This was entirely unexpected as I was going to go up to bed!

Plus or minus 2 to 2 1/2 cents does not seem to be a good standard to start out with. If one "G", for example is 2 1/2 cents flat (-) and the other is 2 1/2 cents sharp (+), then when thes two notes are played in unison you have a 5 cent difference. Added to the fact that the occasional note on instruments with brand new reeds, may drift a little bit (maybe 1/2 to 1 cent) after being tuned, may add to the situation. The goal should be (for high and mid-priced instruments) + or - 1/2 cents. I would think that repairers should aim a bit higher than 2 to 2 1/2 cents, but I agree with Rich that when the lower grade instruments are made they are trying to keep costs down, and production high by not really tuning the instruments they make. Tuning is not only a very time-consuming, labour-intensive task, it is a skilled one. Not everyone working in a concertina making facility can do a good job. You never see in newspaper want ads "concertina tuner needed---must be diligent, skillful, and be able to spend long hours with a file, in front of a tuner." It takes me 6 to 8 hours (sometimes more) to do a good job with tuning and reed response adjustments---far longer than any other single task in making concertinas. So far, I have not trusted anyone else to do the job.

John Williams is a great player, although on his video he warns not to play with the bellows over the knee, and then promptly does it. Just an example of, "Do as I say..." BTW, John won All Ireland once on the concertina. He is the only non-irish born player to have won at all, but it was only once. I once saw a concertina, which had been rebuilt professionally, in the possession of Gearoid OhAllmuirhain. The bellows looked fairly new, but worn though on the underside from playing over the knee. This isn't to say he, himself, did it, but that it can be done in little time with a lot of aggressive playing.