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Wolf Molkentin

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Everything posted by Wolf Molkentin

  1. It's more or less direct quote, we didn't go into the details... As to the materials, this had been my own assumption, as I had been musing about the quality of steels, leathers etc. (possibly wood as well, which might be subject to more changes when new).
  2. I have to keep it a bit cryptic here. A qualified person once told me that choosing modern makes over vintage instruments could be delusive in a way since one would simply have to face new issues instead of the well-known ones then...
  3. Wolf Molkentin

    my first Anglo recording :)

    😉 Thank you so much Mike, the encouragement from your side means a lot to me here - I take it from you that I‘m on my way...
  4. as played with my 20b C/G Mahogany Lachenal which I really became fond over the last weeks. So it's Monck's March and Shepherd's Hey (what a tune, the latter!!) for starters. Comments welcome, as re my previous EC recordings! Best wishes - 🐺
  5. Possibly so, but this might lead us back to the topic - better/longer-lasting reliability of a newly-made instrument? sound quality? specific issues of „top-modern“ makes, depending on availability of materials? I’m aware of concerns and musing of some fellow concertinists... So what would you say, Alex?
  6. @alex_holden might be willing to make one (and he is a craftsman extraordinaire), don't know how long his waiting list would be...
  7. Wolf Molkentin

    consecutive notes

    I guess I would involve another note at one point - will have to try out which (possibly G) and where this evening...
  8. Wolf Molkentin

    Repair/Check up/tuning new Stagi A18

    Harry Geuns springs to my mind (albeit aprox. 160 km from Ghent). Best wishes - 🐺
  9. Wolf Molkentin

    Highs and Lows of concertina playing

    I guess you have it right, however I haven't been able to verify that within 20 seconds, there's at least a lot of - partly serious - musing to go through.. The impact will hardly affect the pitch, but possibly the response; although this will not be that much of an issue with free reeds... (different with woodwinds apparently).
  10. Wolf Molkentin

    my first Anglo recording :)

    Thanks a lot, glad that you like my take - it was your Crabb that really got me started (re Anglo)... Best wishes - 🐺
  11. Wolf Molkentin

    Do many players play more than one system?

    So it's you who bought the huge instrument from Theo? I had been musing about the measurements before deciding to go for the Crane... (out of curiosity: would you care to give me the size across the flats?). Congrats in any event! Best wishes - 🐺
  12. Wolf Molkentin

    Anglo in F

    it‘s in Gmix/Gdor, so not playable on a 20b I reckon... (you would need a Bb in the B section, no prob with more buttons), whereas harmonies include Fmaj and Dmin as for me, so transpose from here and see which „chords“ are available, or welcome different harmonies when shifting the melody...
  13. Wolf Molkentin

    Do many players play more than one system?

    This had been my understanding I think. And as you say, for a listener I would agree; but I wouldn’t expect the player to make the switch as easily as between tunings (Joni Mitchell springs to mind), as the coordination of finger and hand action is so different regarding the Anglo, English and Duet concertina... (so even the ordinary guitarist might learn the different tabs, whereas switching between the concertina systems is perfectly manageable, just like learning to play guitar and banjo, or concertina and melodeon, all „new“ instruments).
  14. Wolf Molkentin

    Anglo in F

    but obviously your instrument has 26b at least, otherwise A maj wouldn’t work, at least not the entire scale... (I apologize for not having noticed that in the first place)
  15. Wolf Molkentin

    Anglo in F

    works a treat even on 20b instruments, particularly with the low A variant (rather than C or D) on the pull (and A Dorian as well since you have the F# notes available), but only „natural“, not „harmonic“ with G# as leading note... Best wishes - 🐺
  16. Wolf Molkentin

    Do many players play more than one system?

    You certainly have a point here, Rüdiger. Nevertheless, I can‘t perfectly agree with the rest of your post. There’s no analogy to push/pull, and much less to left/right end buttons IMO. Of course the sound remains the same, more or less, but switching between the systems is rather about not necessarily be confused than transferring skills (which surely can happen in certain respects but not on a wider basis I‘m afraid). Best wishes - 🐺
  17. Wolf Molkentin

    my first Anglo recording :)

    Thank you for commenting - interesting to learn that you actually prefer the second version (glad that you like both, though) which I also like in a way, and - which I find of importance - clearly wouldn't exist without having moved to the Anglo first; I'm sure it's mutual influencing, and that's what I'm looking for (and am trying to achieve with the Duet too).
  18. Wolf Molkentin

    Wexford + Third Carol

    Yes Don, and I would gladly do that had I only found a reliable repairsperson who is interested in carrying out such work already... 🙄
  19. Wolf Molkentin

    Wexford + Third Carol

    Inspired by the lovely playing linked from here, in order to avoid thread hijacking: Wexford + Third Carol (taken from the Kilmore Carols) WIP - not sure whether to add stronger harmonised verses f.i. - comments appreciated Best wishes - 🐺
  20. Wolf Molkentin

    Do many players play more than one system?

    By chance, I did both very recently. See here re my Anglo move, which IMO has been successful and non-distracting so far - and here for the looks of my newly acquired Crabb Crane (which makes for a bit of a challenge only insofar I'm eager to do things with the Duet that wouldn't - if not couldn't - be done with either the Anglo or the EC; I expect and accept a slow progressing here). Best wishes - 🐺
  21. Wolf Molkentin

    Highs and Lows of concertina playing

    Paul, a highly enjoyable reading in any event! However, as to the scientific aspect, did you happen to compare recordings made in significantly (re altitude) diverse places concerning possible pitch differences? I seem to recall a guy who had been claiming there would be an impact in this regard... Best wishes - 🐺
  22. Wolf Molkentin

    Wexford + Third Carol

    My first EC, a Lachenal Excelsior, was really well balanced, like none of my Wheatstones. However, the Model 24 is producing just the sound I wanted for the Wexford Carol, and there's not much to desire in this regard IMO. The second tune, in d minor, is a different thing. The melody is rather high, and the instrument lacks impact in this range (partly because the valves are tired I reckon). OTOH I don't see a technical (construction-wise) solution for the EC (and am not sure if I would want one for the Duet, at least no muffling, possibly amplification as you seem to suggest). The player (me) has to (further) devolop his or her skills, that's all I guess. Best wishes - 🐺
  23. Wolf Molkentin

    Wexford + Third Carol

    I have to agree once again...
  24. Wolf Molkentin

    Wexford + Third Carol

    Thanks a lot for your comment, I'm glad you like the track - and as to the flow I guess I'll have to plead guilty and try to follow your amiable and well-balanced suggestions (which I will treasure as it has turned out to be hard to quit this entranched habit, and "not every time" and "on occasion" sounds viable even for me)... 🙂
  25. Wolf Molkentin

    Wexford + Third Carol

    Hi Don, thank you for listening and commenting - I'm glad you like it. I chose the Model 24 (56b extended treble) over the TT Aeola here because of its superb presence, with fiddle and pipes in mind, even at the cost of having to go without the lovely root note of D minor for the first tune (and possibly giving the second tune a try in the lower octave??). As to the earlier recording I tried to reflect the meditative mood and harmonical restraint, albeit I already cautiously expanded the harmonies. Still "richer" harmonies would not necessarily mean more voices (perhaps even less, as in one of "my" verses), but perhaps less use of the drone note on the one hand and more application of parallel major modes on the other. I agree that where I just tried (and achieved I guess) to be tight and atmospheric with the first tune, the melody of the second ("third" actually) is to some extent drowned out by harmony or bass notes. I'll thus have to elaborate more cautious ways for the accompaniment (and replace a few valves too I reckon). Best wishes - 🐺 P.S.: I'm throughout indicating the instrument used for a specific tune in the respective notes at SC - it's very annoying that still, several years after the introducing of the new mobile phone app, these remarks are invisible to the listener who doesn't care to switch to his or her notebook or desktop computer...
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