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A discussion on the defining Wheatstone's golden age resulted in discussions on materials, end plate design, fret work etc. and I started thinking about how the vibrations travel through a concertina... I thought it would be more appropriate to pick it up here... I don't really understand how the ends affect the sound as it's a total mystery how the reed generated air vibrations even travels through a concertina. For example, with two sets of reeds on an English, why are there reed pan chambers only on the outside of the pan? Wouldn't this chamber only be active on press when the air i
The cheap concertinas that I have (old Bastari) are made using plywood. I don't have the idea that using a different wood would have any appreciable change in the sound on them, but does the wood on the better concertinas have any affect on the sound? I seem to remember noticing that the reed plate in one of the pictures seemed to be beech. Does type of wood have as much difference on a concertina as it does in a guitar or a violin? Terrence PS. I just found the thread from 2006 discussing tonewoods. Additional information, though, would be welcome.