Frank Edgley

Sorry about that. Never got the e-mail, or it was deleted with all the Viagra etc adds. Send me another e-mail with the word "CONCERTINA" in the subject heading.

Great discussion. There is certainly a lot to think about, here. There are a lot of variables to consider here, not the least of which involve statements made with regards to factors when discussing English-style reeds and how they do or do not apply to Italian-style reeds, and vice versa.

I'm not sure if mine is the site you mentioned, but I will make a few observations: -The most important single factor in the tone is the reeds. This is also true regarding sensitivity and response. -Also important is the size and shape of the reed chambers. -The size & location of the vent holes also affects tone. -The wood of the reed pan (soundboard) is also important. -The wood of the body of the instrument is more controversial. I think there may be a subtle difference, with the denser materials giving a "harder", "cleaner" tone, and softer woods a more "rounder" tone. It's difficult to come up with words to describe tonal qualities, though. This difference is in no way as pronounced as it would be in an instrument as a violin or guitar, where the vibration of the body of the instrument is a significant factor. Without question, however, is the fact that tone does "improve" with age. How long and how often it is played, and how vigorously (roughly) it is played are the factors here. Obviously the extent depends on these and other factors. Response may be another question. A "dog" of a concertina, with inefficient air usage, and poor reeds, will never be a great player no matter how much it is played. In fact, These instruments, because of poor design and materials get worse after a couple of years of playing..

My very first concertina was a Scholer. After playing with it for about a month a reed broke and not even the local Italian Accordion shop could fix it, as the reeds were all on a single block like a harmonica. Besides, it was in no pitch known to Man. It wasn't a total loss, however, as I eventually turned it into a tuning jig. It made a much better tuning jig than it did a musical instrument. It's not even much of a "tinkerer's" instrument, at least if they are made the same way mine was. As far as my experience has shown, a Stagi (depending on the model) is the least you can really get away with. I have never tried a Rochelle, but from what some are saying, it might be another alternative.

Well, if you're only doing one, it's only 30 or so springs for and anglo etc. etc. By not having the ends done for you, you can decide whether they're right or left handed, and the arm length. It takes about 15 - 20 seconds to do it yourself. ---only a suggestion...

If you can get the right size wire and number of coils, in the right material, it's not necessary to worry about length of the arms, or the end configuration. These (the ends and arm length) are surprisingly easy to do.

Matt Heumann has a Dipper baritone which some of you may have played or heard played at various Squeeze-ins. It has aluminum frames and sounds wonderful. I have no way of knowing, but I suspect that, in an attempt to save money, or because aluminum may be easier on tools etc. some earlier makers may have tried aluminum frames on some of their cheaper instruments. These reeds may have been inferior due to being less carefully made rather than the aluminum itself.

At the base of the Great lakes, maybe money in a bottle would work better than a cardboard box. It may even float over to where I am!

Thanks, for the kind words, Bruce. The concertina has been sold. Thanks to those who expressed an interest in this instrument. I will be sending a contribution to Concertina.net.

Perhaps someone will tell me the secrets about the US banking system. It continues to be a series of frustrating experiences. It makes sense that since I reside in Canada, it would make sense to be paid in Canadian dollars. That does seem to be a problem for customers in England, Ireland, Japan or even Hong Kong. I have received bank money orders or postal money orders from those countries in Canadian dollars. However, it does not seem to be possible from our closest neighbour and trading partner. I have received postal money orders "Cashable in the US only" and "International Money Orders" in US funds, but payment in Canadian dollars, so I've been told is next to impossible. This seems strange to me as I can go into any bank here and get money orders in any currency. In fact, I can go to our local "party store" that has a small post office in the back, and get postal money orders in different currencies. Yesterday, I just received a cheque back from someone in the US. I had sent that person a small cheque for $35 to cover a charge mistakenly made by UPS. Their bank wouldn't cash it, in spite of the fact that it was a major international bank, and a US FUNDS account. Across the cheque was stamped "BANK OUTSIDE OF THE CONTINENTAL US." What goes here??? I have sent cheques to several people in the US without too many problems. It seems that it is a "crap shoot." If the recipient of the cheque happens to have one of the wrong kind of bank, your cheque is not acceptable. How is someone supposed to know??? I have no problem receiving US cheques.

Harold is not only a very smart man, but he is also a terrific person. We met at a "Squeeze-in" years ago (maybe 10), and have corresponded regularly. It was he who was responsible for me changing from a repairperson, to a builder. He has never remained satisfied with one particular design, but is always looking for a better way to do things. Harold has just never sought the spotlight by over-promoting himself. A great man!

It's not often that I have new instruments for immediate sale, but this is one of those times. This is an A/E anglo. It has a beautiful rich, mellow tone. It is a touch faster than the typical G/D, but is a great choice for solo players, singers, or those who wish to play along with certain low Irish pipes. This is, in fact, the same model as the one played by Tom Lawrence on the "Anglo International" CD. Pictures can be e-mailed on request, but photos do not do justice to this beautiful machine---curly maple with a rosewood finish, and metal ends. It comes with a soft case, but a hard shell case can be ordered. Asking price and photos will be supplied on request. Can be shipped right away.

To add a bit of perspective: Twenty-six years ago, I spent $900 US for a 26 button Lachenal with bone buttons & metal ends from Lark in the Morning. The pads were so bad it wasn't playable. It was on approval and I repaired the pad problem before confirming the sale. It didn't really cost me much to repair the leaking pads compared to a new bellows, but it was still a lot of money in those days. The big difference is that, in those days, concertinas were so rare, I didn't have any choice. Today, there are more dealers, and the internet has made it possible to deal with people anywhere in the world. There are more choices. However, nothing is quite so tempting as to have one in your hands. A new bellows, however will cost a lot and your (potential) new acqisition will disappear from your hands for a while until the new bellows can be fitted to the instrument. So the "must-have-it-now" reason is somewhat dinished.

As you know, there is a difference between electronically added reverb and a "vibrato" effect put in by the player. The former sounds more like an echo. The latter is distinctly different, but I don't want to start the whole "vibrato thread" thing again. Nevertheless, the so-called "vibrato" on a concertina is produced by the hands manipulating the bellows with a controlled quiver-like motion.

Sounds like a great idea, Dave. It should help prevent the stripped end bolts and threaded inserts often found on vintage instruments.

All, or most of this thread has been about fingering of concertinas other than anglos. Just to put in my two cents worth about fingering, the answer is "no."

Smoe of it, perhaps. But there may be a factor of where the vent holes are located relative to the position of the hand.

M3838-"Very interesting theory, but wouldn't it mean that those reeds that play the most - play in, and those that don't - don't?" FRANK: That's exactly what I have observed, with many instruments---those I have repaired (when I did repairs), the Dipper(s) I have owned for years, and even my own instruments. Those notes which are played most often sound different than those never, or seldom played. This would seem to indicate that the reeds change. I'm sure the wood has something to do with the overall change as well.

The end grills are basically the same pattern, but have raised edges, and are of polished stainless. This design is now cut by laser. This is by far a cleaner cut than the waterjet method. Then the grill is pressed to get the raised edges. I think they are quite attractive, and I'm glad to say people seem to like the raised edges over the flat ones. I am making almost all my concertinas out of solid rosewood or bubinga, or cocobolo, or similar wood. These woods make a fine instrument and are great to work with. I'm very pleased with my current "professional model" with the new angled reed pan, and played my latest for the recent concert in Amherst. Thanks, Paul, for noticing and mentioning it. My waiting lists have increased lately, but not nearly as long as the other European makers. As far as pictures are concerned, I'll try to get one up, but I've been having problems with my camera lately, and ever since I got XP installed, my old "Photoimpact" program doesn't work.

What determination. Although I know that there are various formulations of stainless, some harder than others, this is still much harder than nickel silver.

This is a very common problem with vintage and vintage style concertinas. Even comparatively newer instruments can have this problem. First, remove the reedpan, after determining the area of leakage. Then, carefully peel back the chamois from the inside of the bellows frame in that specific area. Take it to the top edge of the frame, but not any further. Cut a strip of business card stock and position it where the chamois had been glued down. Replace the chamois and see whether that is sufficient by temporarily reinserting the reedpan. It should be slightly snug, but not tight. If that seems to solve the problem, you can reglue the chamois down using an easily removable glue, such as a children's glue stick. When you reassemble the concertina, you should notice a marked improvement.

The air button is very important on an anglo. I constantly use mine to keep the concertina in "my comfort zone," which means I don't wait to run out of air to use it. It is constantly being pressed. Your thumb should be on the air button at all times, not curled up as I see many beginners doing. Now, I'm not really conscious of using it, as it has become an automatic action.

Many concertinas were fitted with nickel (German) silver end grills. Nickel silver is a mixture of copper, nickel and zinc (0% silver). When newly polished they are wonderful to look at. The problem is that the acids in many people's fingers reacts with the copper and discolours it. Once it has taken hold, it is very difficult, if not impossible to remove without rebuffing. If the grills are plated rather than solid nickel silver there is the real risk of buffing away some of the plating if it is already showing wear. If you really want the grills to shine, you can have them replated, but be sure you have someone who knows what they are doing. This is why my grills are now stainless, unless specifically requested otherwise. I noticed that Geoff Crabb's latest instrument has stainless grills. They only need an occasional wipe to keep them looking new. Not traditional, you say? Stainless is very difficult to cut and polish, and if the early makers had laser cutters they probably would have used something like stainless too.

RICH: "Tnere are other parameters influencing this air path too: the length of the air path; the size of the outlet hole and how far off it the pad lifts up (which seems should be added to/included with the length of the air travel path); the "ends" of the path (how far beyond the reed tip and pad hole the chamber extends); and the proprtions of the path (ratio of average grith to length)...." FRANK: I agree. The size and shape are influences as well.

I, too "thought this through" many years ago, and ordered a 36 button from Colin. My reasons were similar to yours, Gerry. Now, after my ablilities on the anglo have improved, I'm not sure it was the best idea. Techniques which were too awkward for me then are not longer difficult. Many (but not all) players in Ireland do use the Jeffries layout. However, your fingering develops according to the instrument you learn on. Neither the Wheatstone/Lachenal or the Jeffries system is inherently superior to the other. It's all what you get used to. I would consider very carefully about shifting too far from one of the two main systems, however, as you will have difficulty playing anyone else's instrument especially tunes which use these changed not positions. Consider the vast number of instruments using Wheatstone compared to Jeffries. Then again, if you have a great instrument, you may never want to play anyone else's.