Jump to content


  • Posts

  • Joined

  • Last visited

Profile Information

  • Gender

PhilEdwards's Achievements

Advanced Member

Advanced Member (3/6)

  1. One of my concertinas* has a box with a groove in the lining for the thumb screw. Insert it the right way round and you're laughing. Insert it any of the other five ways and it can take quite some time getting it out again - not so much "tip and pour out" as "hold upside down and shake". *One of the two, to be precise! I've got an EC** and a Maccann Duet, only one of which I can play. Yet. **With a wobbly pad/sticky key problem, as featured elsethread.
  2. Well, the last time I opened it up I could see the offending pad sitting at a slight angle on the hole & consequently not quite covering it. Other pads don't seem to have that amount of play on the arm, so I'm assuming that renewing the glue to the point where the pad doesn't swivel around independently will do the trick. (Horley, eh? I'm from Coulsdon originally. To rhyme with Polesden (don't know if anyone says it that way any more).)
  3. It's getting worse - it's just stuck in the middle of a tune, which it's never done before. Drat. Any thoughts on replacement pad glue?
  4. ...and this turns out to have been the problem. I got the sticky key problem again this evening, but this time I managed to take it apart while it was still doing it. Because the pad was loose on the arm, it was coming down at an angle and not sitting in the hole properly. (The fraction of an inch higher that the pad was sitting, as a result of being on an angle, also pulled the key down.) Each pad is attached to the respective arm (sorry for the non-specialist vocabulary) by a drop of clear (if brownish) glue which has set hard in a resinous blob. In the case of this pad (and possibly a couple of others), this is going to need to be renewed. What kind of glue would people recommend?
  5. Geoff, you're a star - the bellows-wiggling technique worked a treat. Still curious about how to slide paper in under the reed, if anyone feels like enlightening me on that one for future reference!
  6. I've had the thing apart but couldn't see how I'd go about getting anything in under the reed - the topside of the reed is at the bottom of a little narrow wooden trench & the underside is only accessible from inside the bellows. Bit baffled at the moment.
  7. I quite probably will, but I'm hoping that I can get my box up and running again first. (The serial # appears to be 32512, incidentally, although the 3 is hard to make out - it could just as easily be an 8, but I gather that's unlikely.)
  8. You migh have attracted a piece of dust now settling between reed and slot - you'd just have to remove the end, identify the reed, put a thin piece of paper underneath the whole reed (not into the slot) and remove it. That should have done it then... Remove the reed? Could you go into that in a bit more detail? I'm not clear how the dust blocks the pull note, or how what you described gets rid of the dust. (Bear in mind you're talking to somebody who had never even seen the pads until this afternoon.)
  9. Postscript: I've put it back together and the LH G doesn't seem to be sticking. A slightly mystified Hooray. However, I've now got a dead key - the LH D, just next to the suspect G, is sounding on the push but not the pull. What have I done?
  10. The pad was loose, to the extent that it turned 360 degrees around the arm; it didn't seem to be moving side to side, though. Once I'd got the top off and paid close attention to individual keys, there was definite resistance when I pressed down the G and a couple of other keys; I couldn't make out what was causing it, though. The G and C keys seemed very close together and I wondered if the G was catching on the C; not sure if this would be possible with the lid on, though. Long and the short of it, I couldn't reproduce it, I couldn't see anything obvious that would have been causing it, and it hasn't recurred since I put the lid back on. Gremlins?
  11. Sounds hopeful, but how would I get at the pad? Last time I took the end off I seemed to be looking at a closed (glued?) plywood box.
  12. I've got a sticking-key problem on my 1890s Lachenal EC (last checked over when I bought it a couple of years ago). I've been working up a basic song accompaniment consisting mainly of chord triads (with a bit of cross-fingering); the way the chords have fallen, I've ended up holding the lower LH G down for all but a few bars, almost to the point of having a G drone. The trouble is, by the time I get to the end of the song I have got a G drone - the button stays half-down and the pad stays half-up, and the G sounds with every bellows move. Some dedicated wiggling loosens it, and it behaves properly until the next time I hold it down for several bars - whereupon it seizes up again. What kind of a problem do you think I've got, and what are my chances of fixing it myself?
  13. I'm thinking I probably will take a punt on a £400 39-key box - I was reassured by Robert Gaskins' Maccann chord charts, which appear to show that you can get all 24 major and minor triads out of the 19-key LH (in one form or another). When it comes to tune playing I reckon I can always just use LH buttons for the lower notes - it's not as if I haven't been using the left hand playing English. And although I'm likely to get frustrated with the 39-key box, by that time I'll have played it enough to have an idea what I want to trade up to. Does that make sense or am I just trying to talk myself into buying a new toy?
  14. I took up the EC 18 months ago and feel like I'm starting to get on top of it - at least, things are starting to get more interesting. (Tunes are coming easier, and in song accompaniments I'm making more use of four-note chords and cross-fingering, e.g. for sus2/sus4 chords.) What should ping my eBay radar at this point but a Maccann Duet, which Chris Algar was offering for £400. That one's gone now, but when I checked with Chris it turned out he had another similar instrument which he'd be willing to part with for the same money. This struck me as a *very* reasonable price, & immediately got me hankering after a Duet. (You can do some great song accompaniments on a Maccann Duet - it's what Jon Boden uses, to name but one.) There's a catch, though, which is that we're talking about a 39-key Maccann Duet: an octave and a fifth on the RH, from G above middle C up to C'' - which is too narrow for some of the tunes I play and in the wrong place for most of the others. It would probably be OK for song accompaniment, on the other hand, and it would be an affordable way to learn the Maccann system. Or would I be better off saving my pennies for something with two usable octaves on the RH? Anyone (a) gone from English to Duet {b} played a 39-key Duet or {c} neither of the above, but feel like chiming in anyway?
  15. It's a source of eternal regret to me that I never saw Peter Bellamy, although I'm old enough to have seen him in the 80s if not earlier; sadly I wasn't even aware of him until a few years ago. People who knew him fill me with fannish awe! I'm not dead set on reproducing the particular sound of his accompaniment, which clearly owes a lot to what happens on an Anglo when you reverse the bellows. What I want to achieve is a fairly basic EC accompaniment to "Death is not the End"; if it sounds a bit like Bellamy's, so much the better. Chordally the song is very simple - the verses are basically several bars of I followed by several bars of V - so it needs a bit of livening up. I've tried breaking up the main chords with passing chords, but it still sounds pretty dismal - so I was wondering how you'd go about doing what Bellamy seems to have done, essentially playing a melody line in dyads & triads. Or, I suppose, if you'd do it that way (on an EC).
  • Create New...