Wolf Molkentin

While this may very will be true re ITM and the special requirements of the resp. playing style, I would OTOH firmly oppose to the notion of ruling out self-teaching, be it on the English or Duet - or Anglo. Playing the Anglo along the rows - it this is what a certain player is aiming at - is highly intuitive and therefore accessible. Best wishes - ?

Re the topic concertina vs. accordion reeds, recorded there may be only a small difference, but listening to the resp. instruments without amplification will reveal significant characteristics of each type. And of course preferences are a matter of personal taste, but based on this you should keep in mind that an instrument with a beautiful and pleasing tone will encourage and inspire the player musically. Think of these experiments comparing a Stradivari with a cheep "made in China" violin: it's mainly about the "feel", impression, tone as perceived by the musician him- or herself, which will (or will not) inspire him or her to make good or even great music... I'm sure my beautifully-sounding (concertina-reeded) concertinas are helping me very much in this regard... Best wishes - ?

the commonly-availabe EC-sound covers just one half (at most) of what the instrument is capable of - of course you should not take up an instrument which doesn't "click" with you, I would just like to provide you with an example for your consideration, ad lib... my recording doesn't properly cover the "fat" sound of the particular instrument (a Wheatstone model 24 ET), but it might give a hint to what I'm talking about (you might explore my SC page for more takes of course). best wishes, enjoy whatever instrument you will chose! ?

I have one too (speaking of genuine New Model baritones, they're not that rare I think) - and I can confirm it's a very rich sound...

Since I didn't mention it for years the community might bear with me repeating myself that of course the EC is very well capable of playing "chords", or rather harmonies, in fact lots of them, so that you'd rather have to show some self-restraint in this respect.. ? Best wishes - ?

seconded.

very cool idea Geoff!

That's my view as well, Jim. Best wishes - ?

that‘s how baritones usually work ?

indeed! added a low F to all my treble ECs which are tuned to equal temperament - but would love to have the F# too - always a tough choice, same is true for the TT layout, where I opted for the B, thus lacking the Bb, hence the opposite solution. Good luck with the sale! ?

exactly what I'm doing myself Paul ? best wishes - ?

Yes and yes - try that, but just with the affected reeds.

try twitter ??

Cage-style ?

A fully-fledged bandoneon would have three reeds per note, in octave tuning (L + M + H) AFAIK. Best wishes - ?

You would need reeds on fitting plates or shoes, and brass wouldn't be preferable either. Accordion reeds are being used due to their availability and cheapness. Concertina reed shoes are requiring less space, but are quite expensive because there is no mass production, for several reasons. Best wishes - ?

the largest button count of an extended treble EC to this date was 60 to my knowledge, 64 seams a bit weird....

Jürgen, I can't tell from personal experience, but I seem to recall that Wim kept saying the difference would be significant. Best wishes - ?

I'm just pressing the reed shoe onto a wooden surface of the next table or desk available and get satisfying results for the digital tuner. Of course there may occur a deviation, but it's common knowledge how to handle this (feel free to ask of course).

true for me as well, as en EC player, making a lot of sense - I always wanted to have a TT, and really love mine - but playing my trebles still delights me in a unique way

Agreed, however I‘m the player/model not the painter/drawer here ?

indeed!

I‘m following Fergal‘s daily output for quite a while now - he never ceases to entertain being a fantastic musician (and great bloke too, apparently) - and this is fun too...

fair enough Dave ? I appreciate your being around