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Pistachio Dreamer

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About Pistachio Dreamer

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    Advanced Member

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  • Gender
    Male
  • Interests
    I play, make & restore concertinas, mainly anglo but other types also.
  • Location
    London

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  1. Hi Matthew, You could certainly use most of the C row, but after that things get difficult. A few of the B row reeds work in the accidental row, beyond that you will either need to find other reeds (a single G-row hohner perhaps?) and/or retune reeds that are closest to where you want them to be. You can also use the bass harmonising reeds to help, though sometimes these are made in a way that they speak a little quieter than the RH reed blocks. As an example, you will need to repurpose a reed for the bottom C/G reed of the concertina, which doesn't turn up on a melodeo
  2. these instruments will live longer than us individually, so I wonder whether the penchant for anglos is permanent, or whether at some point in the future duets will become the more sought after system, so we'll end up converting them back. I believe quite a few Jeffries duets have been converted to anglos.
  3. You're welcome. No concertina is 100% airtight, yours sounds pretty decent given how you describe the movement. A popular airtightness test is to hold the instrument vertically by one end, with no buttons pressed, and let the other end fall. The rate it falls as the bellows open gives an indication airtightness, though this does depend on other factors too. Don't force the air in or out without a button pressed though as this can stress the seals. Keeping the instrument stored with the bellows reasonably tightly compressed is also important, so the slight opening you describe does
  4. Thanks Tap! Yep the scale up is definitely not something I'm interested in doing, it ends up with just another factory made box. I'm aware I'm trying to offer something different in a hand made beginner instrument with a bit of customer focus. Most makers are concentrating on the high end instruments for good reason - they command a higher price, and therefore better return. I've worked out some techniques and material choices that makes their construction pretty straightforward and quick, I may do some further posts on here about that another time. Another advantage of
  5. Thanks - making these isn't even my full time job! Early days for this little side project, I think by the end of the year I'll have a few people who may be able to give an outside opinion on this forum and elsewhere. Making loads isn't necessarily my aim, and I don't do any marketing as such for that reason. I think if I got loads of orders I'd simply end up with a rather long waiting list. That maybe ok for a high end instrument, but I think for a first instrument people would want to get their hands on something fairly soon they'd go elsewhere or lose interest. I am keen on getting people s
  6. Agreed, something that the recording I reference attests to. There is a distinction between "sea songs" and "sea shanties" the latter being particularly for work requirements and even felt to be bad luck if sung on land, superstitious as sailors were. I think the distinction now is getting very blurred, and the OP notes the exaggerated connection between the concertina and the sea. However, this is how music lives and I look forward to the land based development of this art form, with or without concertina accompaniment, and great too if it results in a greater interest in the instrument.
  7. Hi Yohan, It might be something lost in translation, but I suspect you will not be able to make this "as new again". But hopefully playable and enjoyable for some small hands. First the reeds. Identify the problem reeds by taking the plates off (make sure you are aware of the order they go back, and mark up both the plate and the instrument in pencil if required). Press the button that has the problem note, looking at the reed side and see which pad lifts. Find the corresponding reeds on the plate. The "push" (exhale) reed is on the outside of the plate, the "pull" (inh
  8. Having learnt on a Stagi myself I can vouch for their suitability as a beginner instrument. I managed to pick up a second hand 30k for about £250 on ebay at the time, and it really did play very well, much better than the reports I get of other similarly priced new boxes, though I haven't tried a good many of them. I've tried concertina connection's accordion reed instruments in the past too, though not the Rochelle, but I was impressed by the quality. As for range, I would say a 20K is a very good start for a complete beginner. I started on a German 20K before graduating to 30, an
  9. Good to hear from you Dana, thanks for your reply, and others in the forum too. This is the stainless grade I'm currently experimenting with: https://www.materials.sandvik/en-gb/materials-center/material-datasheets/strip-steel/sandvik-7c27mo2-flapper-valve-steel/ It really does shear very smoothly and straight, once I figured out to leave the reed strip on the LH (static) side of the shear! I think there is an equivalent from Voestalpine, including a new one called "flap-x" that looks to be harder-stronger-faster-better, but perhaps not necessarily so for concertina reeds. When I
  10. Thanks all, really interesting discussion as always
  11. Indeed! If there was a way to vibrate the reed outside of the shoe, then it would be virtually noiseless. I was thinking of starting with using shot only, with some detergent perhaps, but not abrasive paste or finer grain material. Really relying on multiple impacts on the metal to promote hardness, rather than it being a poishing operation per se, which I'd do more efficiently with micromesh files. Sorting them out again afterwards sounds a nightmare, unless I can scratch a number on the spare length at the base. Those tumblers seem a lot of money for what they are, I
  12. Hi Alex, I was thinking to profile, set and tune the reed to within 20 cents say, then take it out and tumble it before resetting and fine tuning. I was imagining any operation would probably affect the tuning, so there would need to be some fine tuning afterwards. However, if I did end up with round edges I guess I could do some tumbling earlier in the process on an overwidth reed, then file back to a clean edge. Are there any other things concertina makers employ to make there instruments sound more played in to begin with? For example, a device that sounded a reed at
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