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Shas Cho

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Posts posted by Shas Cho

  1. Oh, dang, dang, DANG!

    I can't believe I did that.

    It was sidesqueeze Ken who dragged me over here.

    Man, I miss my brain.

    Sorry, Ken.

     

    That picture, which I cannot find,

    is no doubt a pre-Rochelle photo of my first concertina,

    a leaky Stagi my in-laws brought home from Ireland.

    Either that or you caught me plinking on my ukulele...

  2. Good afternoon, y'all.

    It's been a while.

    Ken (tall ship) dragged me over here

    and I thought I might use the opportunity

    to say a general 'howdy'

    and to ask for the thoughtful advice of the group.

     

     

     

    With the encouragement and assistance of you good folk

     

    I adopted a Rochelle last autumn

     

    and have never regretted it for a minute.

     

    In fact, I'm very grateful to you and for her.

     

    I don't know that my playing has reached any stellar heights

     

    but my enthusiasm for the instrument has never flagged.

     

    Very few days have passed

     

    without my playing it, at least for a few minutes

     

    and I often spend a good bit of the evening

     

    playing Irish tunes and pr-1980 favourites.

     

     

     

    I just play the melody line in a one-note-at-a-time style,

     

    like a wood wind or a hand-operated harmonica.

     

    I haven't heard many decent players use that technique,

     

    but it's all I can manage

     

    and I get a lot of pleasure from it.

     

     

     

    Actually, it just occurs to me that you might be able to advise me...

     

     

     

    I pretty much live in bed,

     

    and most days I lack the strength to hold the tina up

     

    for more than a few moments.

     

    Typically I rest it on the bed clothes while playing.

     

    As you can probably imagine,

     

    the 'bottom' creases of the bellows

     

    are becoming quite worn.

     

    I'm sure that prevention is easier than repair

     

    but I don't know what sort of prevention to apply.

     

     

     

     

    I look at these increasingly threadbare folds

     

    and think about gluing on chafe patches

     

    of cloth or soft leather,

     

    but my courage fails me

     

    when I consider that my modifications

     

    could spoil the action

     

    or create excessive resistance.

     

    I would be very sad to damage her.

     

     

     

    Suggestions, please?

     

     

     

     

    After looking at Pete's shoulder harness

     

    I'm thinking the ultimate solution might be

     

    to hang a pair of long straps from my ceiling

     

    to suspend the instrument just a centimetre above my bed!

     

     

  3. You've nailed it, John.

    Took the words right out of my finger tips.

    I play my Rochelle every day and love it,

    but stiffer straps and a larger gasper

    would be a substantial improvement.

    I'm rather amazed that I haven't yet done both.

     

    The other improvement is to re-sew the strap attachments

    on the carrying case.

    Or more accurately the storage bag.

     

    Higher-quality concertinas are produced, of course,

    but only by building them from the ground upwards.

    I don't think the Rochelle could be improved significantly

    beyond these simple changes.

    Nor does it need to be.

    I still smile every time I pick mine up!

     

     

     

  4. Merry Christmas, Happy Hanukkah, Blessed Solstice, and a Prosperous New Year!

     

    This has been a year of really good things and really difficult things.

    The difficulties have prevented me from being as interactive as I would have liked,

    but discovering the concertina and this community of friendly, generous,

    enthusiastic squeezers has been about the best of the year for me.

    I feel privileged to have met several of you (in a virtual sense)

    and I hope your holidays are filled with family and warmth,

    music and affection and peace.

     

    Shas

  5. Thanks, Nancy.

     

    For simple, incremental, and fun exercises

    I am still very enthused about Alan Day's tutorial.

    True, it's for a 20-button anglo,

    but that's no doubt where we all start, eh>

     

    http://www.concertinaman.com/concertina-tutorial/

     

    I have several 'big name' tutorials now,

    and Alan's is still my favourite.

     

    Speaking of tutorials,

    I don't have the tutorial that comes free with new Rochelles.

    Does anyone have a not-being-used copy they'd like to sell cheap?

     

    Shas

  6. Here is "Bile Them Cabbage Down"

    using both hands an octave apart,

    to demonstrate the relative volume

    of the two sides of the Rochelle.

     

    Nothing fancy, just using Audacity

    with my MacBook's built-in mic.

     

    As you can hear,

    the upper register is almost entirely hidden by the lower.

     

    I'm using the bellows to break between notes

    because in my first take the mic picked up the buttons,

    making it sound like a musical type writer!

    Bile Them Cabbage Down, 2 hands.mp3

  7. what do you think of the placement of the air button? I find it difficult to reach.

     

    Thanks, Ann

     

    I can reach the burp button okay,

    though a half inch further outboard would be ideal.

    What bothers me is that when I press it

    nothing much happens!

    I am definitely going to double the size of the gasper.

    I'm afraid I'll damage the bellows (or my pectorals!)

    trying to gulp a bit of air during a speedy tune.

     

    I'm not knocking the Rochelle, at all, at all.

    I am loving the precision, the air-tightness,

    and even the voice is growing on me.

    But the more I like her

    the more frustrated I am

    to be wrestling with such an obvious

    and easily-addressed (at the factory) handicap.

     

    This is an instrument with a helluva lot of potential.

  8. As for keeping the bellows closed, since the concertina sits vertically in the gig bag, gravity does a fine job.

     

    Another teaching opportunity:

    Haven't I read somewhere

    that vertical storage is a no-no,

    because the hell-facing valves learn to hang away from their respective slots,

    resulting in chronic leakage and unwanted reed activity?

    Or does that apply only to 'tinas with leather valves?

     

    "...TWO Rochelles on the table"

    How rude.

    :)

  9. Here are a few small photos of the Rochelle with my Stagi.

     

    Alrighty, then.

    Looks like I'll have to make myself a case, and use it.

    The supplied 'gig bag' is far too slippery to leave on a table top,

    and far too roomy to train the bellows to stay closed at rest;

    the sides of the bag are solidly two inches longer than the Rochelle itself.

     

    All advice and information is eagerly and gratefully received!

    post-9541-0-04235100-1318872970_thumb.jpg

    post-9541-0-06478100-1318873125_thumb.jpg

    post-9541-0-11502500-1318873266_thumb.jpg

  10. Thanks for the input and advice, guys.

     

    So, is there a method or an etiquette for resting a strapless evening box?

    Surely the instrument doesn't go back into its case

    every time a player leaves for a moment

    to acquire or dispose of a beer,

    yet I can't imagine leaving a concertina to gradually crawl across the table...

     

    I may have to travel to the northern isles

    (or at least to Nova Scotia)

    to observe these creatures in their native habitat!

     

    Regarding the 'light left hand'

    and the 'medially positioned bellows',

    Jody and Daniel told Bill

    and Bill told me

    and I have already passed it on to my son in law.

    The folk process is still alive and well!

    I am honoured to be a part of it.

     

    Anyone else?

    Keep 'em coming!

     

    ps (this is the 'edit'):

    I have taken a couple of snapshots

    of the Stagi and Rochelle side by side.

    If anyone is interested I will post them

    as soon as I figure out how.

  11. Wow.

    Rejuvenation indeed!

     

    I share your admiration for true craftsmen.

    There's a line in Zen and the Art of Motorcycle Maintenance

    (a book which single-handedly justifies the printing press)

    that sadly resonates with me.

    The author is talking about welding as sculpture

    and says something like

    "If you know what you are doing,

    steel can take any shape you want.

    If you don't know what you are doing

    it can take any shape but the one you want."

     

    You're going to have a beautiful instrument there.

    Congratulations!

  12. Hey, Thaosyr

     

    jeffn has a Rochelle to sell.

    In case you're curious I have posted

    the beginnings of a review of this model

    on a thread called

     

    Rochelle 1.0, a novice's review

     

    under General Discussions.

     

    Just sayin.

     

    Shas

  13. Hey, Jeff.

    My Rochelle finally arrived!

    I posted my first impressions in General Discussions

    in a Topic called

    Rochelle 1.0, a novice's review.

     

    Maybe it will answer some of the questions

    your 226 viewers have.

    Come see what you think-

    add, confirm, disagree, whatever.

     

    Shas

  14. Have you received the Rochelle yet?

     

     

    *scratching my head*

    I coulda sworn I posted this here a coupla hours ago,

    but I don't see it now.

    Meds, I suppose.

     

    Well, hey!

    My Rochelle showed up two days ago!

    After paying ransom to our benevolent government

    I finally got my hands on it

    and haven't set it down yet :)

     

    I posted my initial impressions in the General Discussion thread

    Rochelle 1.0, a novice's review.

     

    Thanks for asking!

  15. It's here!

    My Rochelle has travelled halfway across the continent

    in a leisurely enough manner,

    but appears to have arrived intact

    even from the baggage handlers at Customs.

    Credit where credit is due.

    My relief is substantial.

     

    Opening the box,

    I found the black nylon carrying case.

    It seems to be substantial,

    made of dense cloth and double stitched.

    The plastic two-way zipper is pleasingly heavy.

    The only fault I see in the construction

    is the sewing of the handles to the case.

    The straps are heavy enough for casual use

    but they are attached with widely spaced and loosely sewn stitches.

    The shoulder strap is conveniently removable via adequate shackles,

    but the strap itself is made

    by simply doubling the light webbing back onto itself

    and running a very few of the same loose and large stitches across it.

    I'll be reinforcing these before carrying it outside.

     

    The shoulder strap is attached fore and aft

    at an intelligent height

    and is easily adjustable

    via somewhat fine-finish-hostile hardware.

    But only if you want to make it shorter,

    which I find rather unlikely.

    My vote would be for another thirty cent's worth of webbing.

    The length is certainly usable

    and I'm not really complaining,

    but the adjustable feature is academic.

     

    The handle lies fore and aft on the lid.

    I've seen some heated discussions

    regarding 'top' versus 'side' handle placement.

    I have yet to see an opinion presented

    on fore-and-aft versus transverse attachment.

     

    Both the top and bottom of the bag

    appear to be of single-layer construction.

    The red velvety lining

    (what's this material called?)

    is nice and soft and slippery

    and seems to resist lint and dust entrapment.

    It's not silk, but it's appropriately non-scratchy stuff.

     

    A nice enough bag, but it's really a dust jacket

    rather than a busking bag.

    With no padding, single-layer ends,

    and minimally sewn handles

    this is definitely not something to protect the box

    from the rough and tumble of late-night pub sessions.

     

    Unzipping the bag, I saw a broken concertina.

    Sadly, I gently lifted out some shards of plastic.

    The first bits proved to be remnants

    of the jewel case holding the enclosed CD ROM tutor.

    Digging deeper I found the bulk of the CD case,

    and many smaller pieces in the bottom of the bag.

    But the Rochelle appears to be...

    well, not exactly unscathed,

    but I see only a few tiny, thin scratches

    in two plastic sides of the ends.

    They may even be pre-existing scratches,

    though I think not.

    In any event,

    I've been unconcerned with larger scratches than these

    in the lenses my eye glasses.

    Not a problem.

    In the contest of the Rochelle against the CD case

    the Rochelle is the clear winner.

     

    I apologize to the packager

    for mentioning this in public,

    but I think it's both significant and impressive

    that the force required to shatter the CD case

    (it's in many pieces, more than twenty)

    appears to have left the Rochelle unharmed,

    and that the exterior resisted the gouging potential

    of the very sharp shards,

    possibly for many miles and bounces.

    The edges of two bellows folds may have abraded a bit,

    but less than the wear on several others.

    This is a tough instrument!

    For future reference,

    a hands breadth of bubble wrap and a rubber band

    can often bring a CD case through the roughest shipping.

     

    Now, I'm definitely predisposed towards the Rochelle.

    I admit it.

    I am impressed by the credentials

    and accomplishments of the designer.

    Whether as an act of generosity

    or of entrepreneurial brilliance,

    or perhaps both together,

    I think it's wonderful

    that someone is making a reliably playable concertina

    at a price lower than many tourist souvenir boxes.

    And I expect that to be a long-term benefit

    to everyone concerned,

    from the impecunious or hesitant beginner

    to the makers of higher-ticket instruments

    to those working to preserve a musical heritage

    to the collectors and performers

    and the starving music-store retailers.

    Besides all of which, this is MY concertina.

    I have sold something I valued to buy it,

    and I want to be happy about my purchase.

    As such, I am not an objective reviewer.

    You have been warned.

     

    The Rochelle is black.

    Unashamedly, shinily, unrelentingly black.

    Which, aside from the shiny-ness

    matches my wardrobe perfectly.

    An aesthetic choice by the designer,

    and one both shared and vindicated

    by the other great watershed designers,

    Henry Ford and Nate Herreshoff.

    My daughter's first response was,

    "Nice.

    That should be played in an orchestra.

    Or a rock band."

    I only report, I do not interpret.

     

    The straps are of the more traditional design

    (I think) than the sandal straps on the Stagi.

    They are wide across the metacarpals,

    which should enhance control,

    and adjust via screws on the 'top' of the instrument.

     

    Speaking of screws,

    I am puzzled by the choice of the screws and washers

    protruding from the ends of the Rochelle

    and securing the bitter end of the hand strap.

    They would be quite suitable

    for bathroom plumbing fixtures,

    but are hardly what one expects

    on a serious musical instrument.

    I'll be shopping around for something a bit more elegant,

    possibly in bronze.

     

    The Rochelle has no straps to hold the bellows closed.

    That seems odd to me,

    but then the bellows and valves are tight enough

    to make them perhaps unnecessary.

    If I set my Stagi on the desk top

    without first snapping down the straps,

    it sprawls contentedly open like grandma's housecoat.

    Do the better instruments dispense with these straps?

    I'm concerned that some interested but ignorant person

    might give it a big tug without pressing a button

    and do some damage.

    (I'm not just being paranoid here-

    before I ever played the first note on my Stagi,

    when I had just been given it

    and was still thanking the givers,

    my sister did just that.

    She pulled so hard it swallowed the air valve pad

    and was unplayable until repaired.

    But then the Stagi has straps,

    and they didn't stop her.

    Which rather knocks my argument on the head...)

     

    I've read so many comments

    about the large size of the Rochelle

    that I was expecting something pretty cumbersome.

    That turns out to be a non-issue.

    In fact, when I'm playing the Rochelle

    I don't notice any difference at all.

    It's no mini, but it seems quite normal to me.

    Each flat side is a bit over four inches.

    The diameter is seven and a half inches

    from flat to flat,

    and from end to end just under seven inches.

    Substantial, yes, but hardly a Buick.

     

    I squeezed my hands into the too-tight straps

    (I know, but I was eager to try it out)

    and took a breath of air.

    Man, that really IS a slow air valve!

    The rumours are definitely true,

    and I am definitely going to enlarge it.

    I'd love to know if that has been changed

    in the new and improved edition.

     

    I tried to whip off a couple of

    Polly Wolly Doodle type tunes,

    but things began to go badly wrong.

    Nothing felt familiar,

    and the notes were all over the map.

    What the...?

    Oh, right.

    That outside bank of buttons is not the C scale.

    Blushing, I tried again.

    Much better, but hardly fluent.

    I felt off balance.

    The voice of the instrument was unfamiliar, too.

     

    At my wife's brilliant suggestion

    (she's a grade 10 pianist

    and the only real musician around here),

    I played one of my favourite airs,

    Ar Eirinn Ni Neofainn Ce Hi,

    as the initial test with a slow tune.

    The first thing I noticed was the abruptness

    with which each tone sprayed from the Rochelle.

    Just as I intended to coax out

    a zen-like tone of grief and resolve

    with neither beginning nor end,

    an impudent, pugnacious honk

    would startle my usurped finger's

    opposite-side analog into also stabbing its button,

    resulting in a brash bark

    as I jerked my shocked fingers away from the playing area.

    The sound, whilst not inharmonious,

    struck me as distinctively mocking.

    After my third bark in the same bar

    she announced that she needed to go start dinner

    and I was becoming significantly paranoid

    about pressing the buttons at all.

     

    You're probably either grinning

    or rolling your eyes and moving on,

    but this is a strictly factual

    account of the proceedings.

     

    I see that this is going to be to some extent

    a comparison of the Rochelle

    with my paper-bellowsed, twenty-buttoned Stagi.

    I suppose it's inevitable,

    as these are the only 'tinas I have ever played.

    I emphathize with your regret

    that a more knowledgeable concertinist

    is not conducting this review,

    but in spite of repeated hints

    no one else has stepped forward to do it.

    Onward, then.

     

    I gave up on that tune for the nonce

    and spent some time just experimenting

    with the air pressure required

    to produce sound from the various keys,

    how easily volume can be modified, and so on.

    And all this time my doubts were increasing

    about the quality of sounds I was hearing.

    Clear, yes, as clear as a bell.

    But I wasn't trying to play a bell.

    I wanted this thing to sound like a concertina,

    and in my mind that means sounding

    like my ill-tempered and blowzy Stazi.

    For all of the bad habits (and words)

    the Stagi has been teaching me,

    for all of the times I have despaired

    at ever getting through a couple of tunes

    without having a stuck button

    or needing replacement fluids,

    I have been confident that the noises it makes

    are at least concertina noises.

    In the higher register particularly,

    the tone of the Rochelle seemed so clear

    as to be lacking in character.

    True, the lower tones did seem a bit 'quack'-ey,

    but not in a masterful way.

     

    I didn't say it out loud in front of her, of course,

    but I was feeling a bit let-down.

    I turned to Ar Eirinn et al. again.

     

    I found that I still had to be

    both conscious and careful

    to avoid a premature, abrupt beginning

    to each note and especially to each phrase.

    No doubt practice will inform my cortex.

     

    The next peculiarity that struck me

    was the white, waxy- (I can't spell "plastic-ey") feeling buttons

    which are only half the diameter

    of the ivory-feeling buttons of my Stazi.

    They also protrude with admirable uniformity

    about twice as far from the instrument ends as I am used to.

    Wow. These seem really long, and poke-ey.

    That's not the odd bit, though.

     

    What was odd is that,

    while I admit to anthropomorphizing boats

    and to a certain extent

    instruments of trades, technology and music,

    I do not really believe

    that they are capable of independent action.

    Yet this Rochelle seemed to be somehow

    resisting my efforts to depress the keys.

    The buttons inevitably rub against the unbushed sides of their holes

    with whatever side pressure is applied by the player's fingers,

    but that doesn't appear to hinder them.

    Each button moves in and out freely enough.

    Yet as I played, or rather tried to play

    (the whole experience was proving so unexpected

    that I was having to 'think'

    about where my fingers were

    and what they were supposed to be doing,

    with the result that I regressed discouragingly)

    the machine seemed determined to oppose my every intent.

     

    While my elders, so to speak,

    and betters, to speak precisely,

    may know what was happening,

    it was a revelation to me

    when I figured out what was going on;

     

    These buttons,

    regarding which I am with-holding judgement,

    move almost exclusively in a single plane.

    They move towards the lever perpendicularly,

    then they move away perpendicularly.

    The button tips on the Stagi move in every direction,

    with the movement of each very liberally defined.

    Consequently, many buttons require specific

    and idiosyncratic input

    from the relevant fingertip

    in order to prevent sticking.

    A comfortable, welcoming,

    'you can do whatever you like

    so long as you keep doing that'

    kind of feeling.

     

    By contrast,

    the Rochelle keyboard is about as inviting

    as one of those tough-love reform educators

    we used to read about in the late 70s:

    "Every button on that shirt

    is going to be in a hole in two minutes, boy.

    Which and how are entirely up to you."

     

    The bellows is air tight.

    The reeds speak easily

    and readily range from rather loud to very loud

    Logic tells me that this instrument will respond

    to whatever actions I invest in it.

    It's going to be up to me to make the music.

    There is no doubt whatsoever

    that I am going to become a much better player

    with this new concertina,

    but the rather distasteful discipline

    is going to take some getting used to.

     

    The sound is still not concertina-like to my ear,

    but as I learn to drive with a lighter foot

    it's starting to be a pleasing sound.

    There are four buttons

    that have a reedy, duck-calling sound;

    G2 and C3 in the C row

    and their sharps in the third row.

    I could wish they were more consistent,

    but again I am with holding judgement

    because of my lack of experience

    with this and will all concertinas.

     

    The G row is very sweet and pure in the upper register.

    Lovely sounds, really.

    I fear they will never be heard

    if I attempt to accompany them with my left hand.

    In fact, all of the right-hand notes

    are overwhelmed by the left hand

    when they are played together.

    The volume differential between bass and treble

    is substantially greater than the Stagi.

    If this can be ameliorated by playing techniques

    I hope someone will advise me.

     

    This is a loud instrument.

    The decibel output is readily manipilated,

    but it ranges only from loud to very loud.

    I am often awake in the middle of the night,

    and for years have quietly played an instrument

    in the bedroom as my wife soundly slept on.

    Ukulele, pennywhistle, Native flute, the Stagi,

    all have been unobtrusive companions to me

    in the restless wee hours,

    but that won't be happening with the Rochelle.

    Maybe I can wrap a quilt around it or something.

    It's not an instrument for lullabies.

    It would be great for serenading, though!

     

    I'll just mention the idiosyncrasies

    of a few of the valves and/or reeds:

     

    When playing the two lowest buttons in the C row

    on both the squeeze and the draw,

    the notes are preceded by a tiny papery "whoomph!",

    similar to the sound a baggy kazoo diaphragm makes

    as it reverses orientation

    when you alternately inhale and exhale

    through the kazoo.

    I'll have a look soon to see if the previous owner

    has inadvertently left a sandwich bag inside.

     

    Also, the high notes of the Stagi spoke immediately

    while the bass notes took a bit of time

    to accelerate into action.

    The Rochelle is much the opposite.

    True, the very lowest button in the C row

    requires a bit of forethought,

    but all of the other left hand notes

    speak promptly and easily.

    It is near the top of the range

    that the Rochelle hesitates.

    My impression is that so much air pressure

    is required to operate the reeds

    that it takes a small yet noticeable

    amount of time to achieve it,

    and to get the air moving through the tiny orifices.

    And a lot of pressure IS required;

    an evening of playing at the upper end

    would leave my arms as limp as a boned fish.

    Also, both G4 and E4 in the G row

    demand noticeably greater pressure than their neighbours,

     

    Speaking of arm work,

    the amazing tightness of the new box cuts both ways.

    The Stagi is so loose and leaky

    that any attempt to play chords

    is a bit like operating the bilge pumps

    on a rapidly sinking ship.

    It ss nearly impossible to keep ahead of the losses.

    However almost no effort is required

    to squeeze sound out of it.

    The Rochelle demands very little pumping,

    but the flight muscles still get a real work-out.

    If my harmonica required that sort of pressure to play

    I would have burst my ear drums long ago.

     

    On the other side of this hermetic tightness,

    every variation in bellows input

    produces prompt, sharply defined results.

    That unexpected precision should be very gratifying

    when my skill level increases enough

    to appreciate the advantages of it.

    Also, the miniscule air valve

    is less of a problem than I anticipated.

    Unless a tune has an unusual series

    of either 'draw' or 'push' notes

    I hardly need to use the air button.

    A quick gasp or sigh now and then is sufficient.

    Maybe I'll hold off on that air hole-ectomy for a bit.

     

    To my surprise, my ability to play a tune by ear

    has increased by, well, by a bunch.

    Playing concertina by ear has always been

    a bit of a guessing game for me,

    and by no means have I always guessed correctly.

    I theorize that the lush overtones of the Stagi

    come at the price of a lack of precision,

    so that I am uncertain where the 'bulls eye' is.

    A bit like walking into a warm, steamy pub

    and attempting to shoot darts

    through fogged spectacles.

    With the clear voice of the Rochelle

    I seem to confidently know what must come next.

    A welcome surprise, indeed.

     

    I've had the Rochelle for two days now,

    and am rapidly becoming comfortable

    with the unforgiving keyboard

    as well as the instrument generally.

    I'm very glad I bought her,

    and am certain she will make me a better musician.

    I have no real complaints.

    I do wish she could be played quietly,

    and I am ambivalent about the keyboard-like sound,

    but I may learn to attenuate the one

    and appreciate the other.

    I'm eager to engage the mysteries

    of the third row of buttons.

    And, just so you're forewarned,

    I'll try to keep you updated.

    • Like 1
  16. That sounds like an awesome vacation experience, John.

    Add a musical crew and nightly pubs anticipating your arrival

    and it would be darned hard to beat.

     

    Maybe someone on the Northwest coast

    (jeffn, are you listening?)

    could collect a gang of musical mariners

    to cruise through the beautiful islands hereabouts!

    In fact, I may make a couple of emails about that today...

     

    I haven't seen Tom for over a year

    but as always, JimLucas has the practical answer :)

     

    If this sort of thing sparks interest amongst C-netters

    we could create a thread for Wandering Minstrels...

     

     

    edited moments after posting because I rarely get it right the first time

  17. A musical canal vacation would be about as much fun as I could handle!

    You know, John, if Tom's cruises don't fit your schedule

    or fit your fantasies,

    maybe YOU could organize something similar

    for interested C-netters!

    The folks here already share common interests

    and seem to be an enthusiastic and friendly community. one of the many

     

    You wouldn't have to make it a narrow boat cruise, either-

    the canals of Europe offer unlimited potential

    for historical or special-interest cruising.

    For that matter, a flotilla of rental boats

    working its way from pub to pub up the Shannon

    and culminating in one of the many fine music festivals in County Clare

    might be the ultimate concertina-lovers' cruise!

  18. Although my last sign post to sea fare

    didn't elicit wild enthusiasm

    (thanks for the response, Mike),

    I'll offer another in the hopes that it may be useful to some here:

     

    Roger McGuinn of the Byrds

    (Turn, Turn, Turn, Mr. Tambourine Man...)

    maintains THIS WEBSITE

    on which he generously posts something like 200 (two Hundred!) mp3s

    of himself singing a wide variety of folk songs.

    He provides the lyrics and guitar chords for each one,

    and includes a short preface about the history of the song.

     

    Categories include shanties and sea songs, cowboy songs,

    mountain (think "Celtic") songs, spirituals, blues, and more.

    I have collected sea songs and shanties for years,

    yet McGuinn has posted lyrics and even entire songs

    that I had never encountered.

    His mountain songs are similarly thorough and gratifying,

    with over fifty offerings in that category alone.

     

    For those interested in these genres

    this site is a real gold mine.

     

    Just sayin'.

  19. Oh, I hope it didn't sound like I was questioning cboody's veracity!

    That wasn't in my mind at all, at all.

    I was only saying that I have not yet seen my new Rochelle,

    and trying to be slightly humorous.

    If I had any doubts regarding the excellence of the instrument

    I wouldn't be half so eager and anxious to get my hands on it!

     

    Cboody, if it doesn't arrive by, say, Wednesday

    (today is the Thanksgiving holiday here),

    I'd be glad to have you make an inquiry.

    Most likely it's simply the time of year;

    the dog sleds will move much more quickly after the snow begins to fall.

     

    sdmc_sleddog_440x234a.gif

  20. Mea culpa, mea culpa, mea maxima culpa!

     

    I truly thought I had posted the fact that I have bought cboody's Rochelle.

    It has not yet arrived

    though my nose is continually pressed against the window,

    watching for the postman with a parcel.

     

    It would have been very convenient to have bought yours, Paul,

    as I live just an hour north of Hope,

    but life is seldom that convenient, in my experience :/

     

    I'm surprised at the lack of response to your ad-

    someone will accept your offer soon, I am sure.

     

    For the record, folks, I have made a deal for a Rochelle.

    Whether 'flawless' is yet to be seen,

    but the deal is done.

     

    Shas

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