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Found 4 results

  1. At last there us a new supplier of DymondWood like material. They have a number of different versions for different uses including versions that are essentially identical to the original DwmondWood made by the Rutland Plywood Corp. Before they burned down. Their URL is https://webbwood.com/ Lots of colors, a bit pricy, but now that all rosewoods are CITIES listed, these composites are even more attractive. Dana
  2. Is the material on wood ended Lachenals really rosewood? Or is it just stained pine? I'm also curious that the papers with the serial numbers and trade mark stay bright white without foxing. I wonder how they managed that...
  3. As I'm looking at changing careers, several of the jobs I'm looking at would involve traveling between very different climates. If I do get one of these heavily-traveling jobs, I was thinking to get a small 20 or 22 button hybrid Anglo so I could leave my vintage Anglo safe at home. Maybe not quite a miniature, but perhaps something like the 21b Marcus Traveller [sic] which is 5" across the flats. I recall having read (maybe in one of Dan's books) that some nicer English concertinas were made for customers stationed in tropical British colonies, so the construction choices were made to resist corrosion, swelling, cracking, etc. If one were to order a small hybrid that's durable for travel, not so much in terms of getting knocked around, but in terms of not as inclined to suffer from heat or humidity, or lack thereof, what kind of features could be reasonably included? Any particular woods more resistant to climate? Any type of bellows construction more resistant to getting soggy from the air? Is there anything to be done at all with reed selection to pick the more rust-resistant option? Screwed-in vice waxed-in reeds? Despite assurances of waxes with high melt points. In terms of having fewer small bits to break, maintaining structural integrity and all that, there must be more conservative ways of doing the fretwork rather than the normal intricate twistiness. Either maybe just some separated round holes like some early German concertinas, or maybe even "fretless" ends like Tedrow builds, where the soundholes are instead openings around the side of the flats. (photo, and a prior thread on fretless)
  4. 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.
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