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Found 13 results

  1. A little while ago I acquired a large 40 key English concertina, which apperared to have been originally pitched somewhere between bass and baritone. A previous owner had started some dastardly modifications to the reedpan which rendered it unlikely to ever be reinstated in its original form. In the fullness of time I intend to make new ends and reedpan in anglo format. In all there were 80 reeds, some in the reedpan, others separately bagged. In the upper register, they are all conventional concertina style reeds to fit into dovetailed slots. The rest of them are surface mount. S
  2. Evening all, I thought i'd share my recent emotional roller coaster with my new Lachenal 20 key with brass reeds. it's had some pretty heavy use what with my renewed motivation upgrading from a Scarlatti and to my dismay 2 nights ago I realised the a1 button not sounding! being a novice I had no idea why this might be- broken reed, a broken mechanism- i envisaged an expensive repair job and stewed over the posts describing these instruments as inferior and prone to breaking down. Boo hoo i thought. However, i stumbled across some threads here regarding fluff/debris in the reeds- with great tre
  3. Hi, This Christmas, a friend’s dad gave me an old Lachenal 30-button Anglo that had been in his family for generations. Unfortunately it is in a pretty sorry state, but as an aspiring musical instrument restorer, I have decided to have a crack at mending it myself (with the help of our friend's tools and DT experience). It is a beautiful instrument, with hardwood ends and bone buttons, steel reeds and a 5-fold bellows. As the photos show, it is a bit dirty (nothing some good cleaning can’t handle) and has had the bellows poorly repaired in the past with what looks like plasters…? Ins
  4. Hi, apart from the specific sound, which I am not underestimating or dismissing, what are the differences between the two reeds? Is the concertina reed more responsive or is this solely down to construction? Louder or again is that timber/construction influenced? I definitely get the more attractive sound from the concertina reed but am curious as to what else I would get in general by upgrading. I appreciate of course the variables between the general qualities, such as between a cheap or poor accordian reeded and a Dipper for example but am wondering about the differences that the two reeds
  5. I'm looking into ordering a (accordion style) reed set for a 30 key C/G anglo build I have under work. I have an "early" Rochelle at the moment and through the build I hope I will get at least a smaller and lighter instrument. Aiming for an upgrade in the playability as well. Buying a better instrument unfortunately is not an option at the moment as money is scarce. Looking through the forum posts it seems several people have ordered reed sets from Harmonikas. I would appreciate any shared insight into ordering specifics (e.q. how did you specify the set) and price differences between se
  6. I didn't really panic, but I was getting worried. The draw A in the left-hand G-row of my recently acquired Dallas-Crabb Anglo was a bit flat. When I got it, a few months ago, everything had been in tune, if I remember rightly. But in the last week, the offending reed was getting flatter and flatter, and also sounded muted and didn't achieve even its flat pitch under light pressure, only when forced. I took the end off to see if there was any debris in the chamber, but there wasn't. The set of the reed looked much the same as its neighbours, and the valve was equally inconspicuous. The
  7. Hi all. I am new to the concertina world and own a Rochelle Anglo. Been playing for 4 months now and love it. I play it at least an hour daily, and use it when I visit folks in nursing homes, etc. Since I am a minister, I use it more than weekly with nursing home visits and visiting shut-ins at home. I do put it to work a lot. I don't know if transporting it has caused the problem below or not, but I do know of no rough events, just a lot of use. I had one problem and received advice from the Button Box folks when a note went out -- had a silent note, tapped the reed with a screwdr
  8. CONCERTINA Hello, I sell complete set of reeds. 42 reeds, i bought 2 low reeds more in the same size in case I wanted to change the tuning layout of the second row - the lowest button from G/d to B/A I wanted to build my own anglo CG concertina, however I don’t have enough time to do so. So i decided to sell this complete set of reeds. The reeds are pre tuned manually in the factory. They are fine quality reeds from czech manufacturer, see the site. In case of interest contact me and I would send you complete sheet with size and pitch of every single reed. Price is 160 euros. Tha
  9. 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
  10. I'm tuning a 30 key lachenal at the moment, and having some trouble with 2 of the reeds on the top row right side - I keep trying to sharpen them but it gets flatter. Both are long enough that it's not because of filing in the wrong place by mistake. On the charts I've seen, both should be d# in a lachenal, but the ones in mine are both eb, I don't know if that has anything to do with the problem. ANyone have any idea why this might be?
  11. A few of the higher reeds on my 1914 Wheatstone English tenor-treble sound thin, with less volume than others. I suspect the instrument has been played a lot more in its middle and lower ranges than up high, so part of the difference might be a difference in how much playing-in the different reeds have undergone over the years. The feeble notes speak quite freely and start just as quickly as the others - they just produce a noticeably weaker sound. I have a later Wheatstone (1928) and that has a fairly consistent volume up the scale, which I'd like to achieve in the 1914 one. Is this p
  12. I've been learning about tuning reeds, by embarking on retuning a brass-reeded Lachenal tutor to concert pitch from old philharmonic pitch. I bought it as a wreck some years ago and have been restoring it intermittently - see lachenal_52313.html. I realise that retuning is hard, and tedious, and I'm likely to make mistakes, but I'd prefer to make mistakes on this instrument which will never be a great one. A famous physicist once said that an expert is someone who has made all the possible mistakes in their subject! I've done a first pass on all the reeds, and now doing a second pass. It'
  13. Hello all. my 1st posting on this forum being new to the Concertina as a new venture from other instruments. I read that better instruments have "real" Concertina reeds as opposed to Accordion reeds fitted in cheaper instruments. Please explain the difference? No doubt this has been discussed before but I can't find suitable thread to answer this question.
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