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Pistachio Dreamer

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

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  1. Thanks, I'll look into it. Button layout is more like an English so it could develop from that
  2. I've made some preliminary designs for an EC, needs some proof of concept work, perhaps a couple of years away at my current rate of progress.
  3. Cohen, thanks for taking the time to write such a detailed review, it is much appreciated, and your comments are very useful feedback for me. Most of all, thanks for your superb playing and teaching. I'm really happy knowing my instruments are helping to get a new generation involved with the concertina. Paul.
  4. Yes, it's very easy to find in model making shops
  5. I've just made a set using very thin plywood, I think I used 0.8mm. Worked very well, and for the strength didn't bulk up the folds as much as card does. Any reason why this isn't used more often, other than tradition and increased difficulty in shaping? I use the "Tedrow" method, as they are cut together as a strip on the bandsaw it really made no odds, actually was cleaner to cut than card.
  6. Interesting discussion, thanks Alex for alerting me. When I started making bellows sans leather I didn't spend long experimenting with leathercloth - I didn't like it's look and feel on the bellows. I make my own fabric by layering up a cellulose/latex cleaning cloth material with fabric interfacing, with an acrylic fabric medium coating and dubbin providing the finish and greater air-tightness. They are very supple, look great, and easy to maintain with further coats of paint/dubbin. They aren't quite as airtight as leather, which is something I am trying to improve. The other material I have been experimenting with is Kraft-tex paper "leather". This is way too thick, stiff and non-compliant to make bellows in the traditional way, however I've developed a method of making these in tube form that works pretty well, and has the advantage of being much faster to build. The material itself seems incredibly hard wearing, and whilst not quite as supple as leather does seem to break in well over time. I've also been able to assemble these purely using pva, whilst making bellows traditionally with synthetic materials often requires a synthetic adhesive, I've found, particularly to get the gussets to behave. I haven't had any reports of bellows failures yet, though my first instrument made in this way is not even 10 years old by now, and in that time my methods have improved somewhat.
  7. Hi Mike, I've found www.georgeibbotsonsteels.co.uk helpful in the past, but anywhere you look you will be subject to a minimum order quantity. With the aforementioned it wasn't so bad at the time - 1kg, which for the 0.53mm was a sheet approx 1m by 30cm - but too much perhaps for your purposes. If you only need to do 6 or so reeds my advice would be simply to do more filing of the 0.53 stock. Down to 0.2mm (I assume you meant?) is not too difficult given the small area involved. If you were making multiple sets it might be handy to have some thinner stock, but for a few one-off mends it's certainly possible. I actually owned a Crabb in standard C/G that used an approx 0.5mm stock for every reed. Hope that's of use, Paul.
  8. I have found it results in a greater range, without the natural stopping point you get with bellows made with individual gussets, which is no bad thing in a way as it helps with the range. However, I use a really thick card-like material called kraftex, which is relatively stiff and is actually quite hard to pull all the way back out into a cylinder, though seems supple enough in the playable range once you have compressed the bellows. If they are using relatively thin leather or leather type material, I suspect it would be easier to draw the bellows out into a complete cylinder as you suggest, unless they have some further mechanism to prevent this. In the extreme case, you could find that when you return the bellows the cards could conceivably pop out rather than in, which would certainly make playing interesting! Looking at the videos it doesn't look like this would be an issue, maybe in the way they have tucked the additional gusset material to the back of the cards, which does look a good deal neater than my attempts. I initially experimented with an armature within each top run to help the bellows keep their shape. After a while I realised these weren't necessary and use them just to keep everything regular during construction, then remove them afterwards. I wonder if there is something similar here, or if there is a jig to use to make sure each run is lined up with the previous.
  9. Alex, apologies owed as I thought the Jeffries layout hybrid I made had an A6 in that position - it is in fact an A5. I was working from a reed chart with no octave markings as you mentioned, so I must have made that decision unconsciously at some point! Good to know this is the standard.
  10. Hi Dennis, Sounds like an interesting project. Let's qualify this is for the "Wheatstone" layout in particular just in case there are differences at the upper end. This is the more common and what your students will likely be encountering. I think you are missing A6 and B6 on your C/G range? Here's G/D: G2,B2,C3,D3,E3,F3,F#3,G3,G#3,A3,A#4,B3,C4,C#4,D4,D#4,E4,F4,F#4,G4,G#4,A4,A#4,B4,C5,C#5,D5,D#5,E5,F5,F#5,G5,G#5,A5,A#5,B5,C6,C#6,D6,E6,F#6 I've seen concertina music in both bass and treble clefs, for sure. I don't think there is an accepted standard, it will be more to do with what sort of music you are notating. A Duet would do well to have a score with bass and treble to represent chords and melody, for example. A simple Irish tune can be easily notated in treble and transposed if playing on a bass instrument. There might have been some accepted ways of notating concertina music in the 19th century with the English concertina, as much was written for it in a classical setting, others here will no doubt know more or point you towards resources. Good luck with the app, certainly interested in the outcome and post again if you need further advice. Paul.
  11. Pausing at 2:35 - it look like they are constructing the bellows in a somewhat similar way to how I am currently for my less expensive builds - with cards applied to the fabric, no separate gussets. However they are dividing this into individual strips of pairs, rather than the whole sheet. This does have some advantages, so very interesting to see. The twist to change key is intriguing, must be trade offs with airtightness but a great idea nonetheless.
  12. Usually yes, however in this case we were talking about the reed being cut as a tongue in a sheet of material that then remains and acts as the reed frame. A bit like the principle of a wooden tongue/slit drum.
  13. I remember seeing this years ago, thanks for the reminder! I wonder if he's still playing?
  14. The German multireed plates tend to be fixed in this way, rather than with accordion reed wax, borrowed form bandoneon/chemnitzer construction of the same era. Looks in good nick, and small brass reeds aren't meant to last a long time so it's done well. I like the sound of them, much softer and quieter than accordion reeds.
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