Touring the UK: Which concertina to bring?

[Jim Besser]

I"m traveling to Holland and the UK with my Morris group in June; hope to see some c.netters!

 

I'm trying to decide which concertina to take; convenience dictates I should take only 1.

 

Because we're doing a LOT of traveling in cars, public conveyances, etc., I"m leery of taking my beloved Jeffries on such a trek.

 

So it's between my Lach/Dipper C/G and my Morse G/D.

 

The Lach/Dipper has a piercing sound and is great for the dancers (I'll be playing solo throughout the tour). But it's a little finicky, requiring periodic on-the-fly repairs.

 

The Morse is very light, very durable, but lacks the pure concertina sound; that, plus the lower pitch, makes it less audible to the dancers, although I've been trying it in practices and they're not complaining. But practice is not like a noisy British street.

 

Sound wise, the Lach/Dipper is the clear preference.

 

I'm halfway adept at doing minor repairs on the Lach/Dipper; I've never opened the Morse, or dealt with its accordion reeds; I have no idea how hard it is do fix minor mechanical problems on the fly. OTOH, I've had it for about 7 years and it's never malfunctioned.

 

The Morse is the less valuable instrument, and I"m sure I'll be less anxious traveling with it.

THe Morse is significantly lighter, which means easier to carry day in and day out.

 

So the factors in play here:

 

Sound (Lach clearly better)

Less valuable: the Morse

Weight: the Morse

Reliability: Lach less reliable, but I know how to fix it, at least simple things.

 

Any suggestions? Any advice on traveling in the UK with an instrument?

[Alan Day]

I would suggest the GD as most sessions you go to will be with that instrument.

When you know it Jim ,please put up your programme on Folk Performers Society (Facebook)as I suspect a number would like to see your Morris team (and you of course)

Al

[AnnC]

When you know it Jim ,please put up your programme on Folk Performers Society (Facebook)as I suspect a number would like to see your Morris team (and you of course)

Al

 

and on here too please, as a lot of us don't use Facebook

[Chris Timson]

I would suggest the GD as most sessions you go to will be with that instrument.

When you know it Jim ,please put up your programme on Folk Performers Society (Facebook)as I suspect a number would like to see your Morris team (and you of course)

Al

 

+1 on both points. I use my Morse G/D primarily for outdoor play for North West Morris and it suffices. Are you coming anywhere near Bath?

 

Chris

[Jim Besser]

I would suggest the GD as most sessions you go to will be with that instrument.

When you know it Jim ,please put up your programme on Folk Performers Society (Facebook)as I suspect a number would like to see your Morris team (and you of course)

Al

 

+1 on both points. I use my Morse G/D primarily for outdoor play for North West Morris and it suffices. Are you coming anywhere near Bath?

 

Chris

 

 

Well, not too far: Winchester and Southhampton for the first few days, then Cambridge for a festival, than Londonwards. Be nice to get together with you? We're still looking for lodging in the Cambridge / Peterborough area, if you know anybody! Thanks for the advice. I'm leaning toward the Morse g/d. I haven' played it much in recent years and I'm going to give it a workout in the weeks before we leave to shake loose any potential problems. Have you opened your Morse and worked on it? Is it relatively user friendly? I know my way around the innards of the Lach/Dipper but haven't done anything on an accordion reeded instrument.

 

My Jeffries G/D is getting a new bellows as we speak and I can't wait to get it back!

 

 

[Lawrence Reeves]

As for traveling with an instrument. I always take something along, even if on a business trip. If going for a music reason,always an instrument that fully expresses my playing. I doubt that a concertina would be out of your sight during a music tour with the exception on in a hotel room, or a meal somewhere. A shoulder strap on the case makes it a permanent extension of my arm when I travel.

[Jim Besser]

As for traveling with an instrument. I always take something along, even if on a business trip. If going for a music reason,always an instrument that fully expresses my playing. I doubt that a concertina would be out of your sight during a music tour with the exception on in a hotel room, or a meal somewhere. A shoulder strap on the case makes it a permanent extension of my arm when I travel.

 

I usually travel with one, and use a shoulder strap / backpack. My concern is mostly about the tourist parts of the trip, especially in Holland, where I understand there's a lot of theft.

 

 

The other factor is dependability. There are 14 dancers depending on me; I can't afford a breakdown. That's the X factor; I can't really decide which option offers the best reliability.

 

 

Edited May 15, 2011 by Jim Besser

[David Barnert]

My father used to advocate a great way to make a difficult decision between two choices when you have already thought through the logistics and no obvious solution emerges:

 

Flip a coin. Then you have one irreversible chance to turn it over (you don't have to tell anybody).

 

That way if you have a secret hope that the coin toss will choose a particular option for you but for whatever internal reason you don't want to make that choice yourself, this makes it a little easier.

 

Personally, I think you'd be hoping the coin lands on edge and therefore you take the Jeffries. Go ahead. Just be careful about security. There are right ways to do it that would minimize the chance of theft.

 

Edited to add:

 

Oh, and have a great trip!

Edited May 15, 2011 by David Barnert

[Michael Reid]

I'd opt for the Morse, as it's much less likely that something in it would fail due to age.

 

During the period when I was playing my Morse heavily, I did have several pads come loose. The dry climate I live in might have been partly responsible for those problems. In any case, I would include in my travelling kit some glue to reattach a pad, should that become necessary. In most cases I used "Sobo Premium Craft and Fabric Glue" to reglue pads to the leather thingy on the end of the arm. The last time I did a field repair, however, I used a "Glue Dots" brand adhesive disk, which was, as I recall, recommended on this forum, and I didn't have to wait for the glue to dry. I keep both in my travelling kit. The Sobo is available in a 2 oz. bottle at craft and fabric stores. I found the Glue Dots at an office supply house. Add some toothpicks and Q-tips for applying glue.

 

I would also recommend that before you go, you open up the Morse so that you get familiar with the procedure (which is quite easy). Find and add to your kit a screwdriver that is just the right size for the Morse's filister-head bolts, which can get chewed up if you're not careful. While it's open, you can check the pads to make sure that each is well secured.

 

As an added precaution you could bring some spare springs (get some from the Button Box), and a good pair of needlenose pliers.

[Jim Besser]

I'd opt for the Morse, as it's much less likely that something in it would fail due to age.

 

During the period when I was playing my Morse heavily, I did have several pads come loose. The dry climate I live in might have been partly responsible for those problems. In any case, I would include in my travelling kit some glue to reattach a pad, should that become necessary. In most cases I used "Sobo Premium Craft and Fabric Glue" to reglue pads to the leather thingy on the end of the arm. The last time I did a field repair, however, I used a "Glue Dots" brand adhesive disk, which was, as I recall, recommended on this forum, and I didn't have to wait for the glue to dry. I keep both in my travelling kit. The Sobo is available in a 2 oz. bottle at craft and fabric stores. I found the Glue Dots at an office supply house. Add some toothpicks and Q-tips for applying glue.

 

Thanks, Michael; useful info. I'm pretty comfortable opening a traditional concertina, but understand the MOrse is a pretty different kind of box inside.

 

 

 

[Chris Timson]

I've got a page on the Concertina FAQ here with some photos of a Morse concertina opened up. I would encourage you to open yours up before you go away and familiarise yourself with the interior, just as you would with your Jeffries. It's a pretty straightforward design. The only problem I ever had live was once when the retaining clip on the left hand strap snapped as I was playing, and that was mostly my fault as I had put it under some pressure a few days earlier when changing the hand straps (no need to, just me not leaving well enough alone). A nearby Morris musician lent me his G/D to get me through the spot and then I temporarily fixed it with a paper clip.

 

Chris

[Jim Besser]

I've got a page on the Concertina FAQ here with some photos of a Morse concertina opened up. I would encourage you to open yours up before you go away and familiarise yourself with the interior, just as you would with your Jeffries. It's a pretty straightforward design. The only problem I ever had live was once when the retaining clip on the left hand strap snapped as I was playing, and that was mostly my fault as I had put it under some pressure a few days earlier when changing the hand straps (no need to, just me not leaving well enough alone). A nearby Morris musician lent me his G/D to get me through the spot and then I temporarily fixed it with a paper clip.

 

 

 

Thanks, Chris. I remembered that the Morse setup was different; these pics explain it. Doesn't look like it'll be much of a problem to work on. And as I've said, I've had this one for years with no problems. For the first 4 years or so it got very heavy use; more recently, it's been a spare, but I have no reason to doubt its reliability.

 

 

 

[John Wild]

I've got a page on the Concertina FAQ here with some photos of a Morse concertina opened up. I would encourage you to open yours up before you go away and familiarise yourself with the interior, just as you would with your Jeffries. It's a pretty straightforward design. The only problem I ever had live was once when the retaining clip on the left hand strap snapped as I was playing, and that was mostly my fault as I had put it under some pressure a few days earlier when changing the hand straps (no need to, just me not leaving well enough alone). A nearby Morris musician lent me his G/D to get me through the spot and then I temporarily fixed it with a paper clip.

 

 

 

Thanks, Chris. I remembered that the Morse setup was different; these pics explain it. Doesn't look like it'll be much of a problem to work on. And as I've said, I've had this one for years with no problems. For the first 4 years or so it got very heavy use; more recently, it's been a spare, but I have no reason to doubt its reliability.

 

 

 

 

another small point to think about is that the UK is a much smaller country than the US, and wherever you are you are likely to be much closer to an established repairer than when at home.

 

Do let us know your program when the details are fixed.

 

regards

 

John Wild

[Jody Kruskal]

Nice seeing you this weekend Jim.

 

I have always carried two concertinas in a soft bag with a shoulder strap. My wife got me an Eddie Bauer bag that is perfect for this, but looking at their web site just now, they no longer carry it. I bet you can find something though. So take two and be prepared.

[Jim Besser]

Nice seeing you this weekend Jim.

 

I have always carried two concertinas in a soft bag with a shoulder strap. My wife got me an Eddie Bauer bag that is perfect for this, but looking at their web site just now, they no longer carry it. I bet you can find something though. So take two and be prepared.

 

Possibly. A small enough soft case might fit under an airline seat, right?

 

Great seeing you, too; you and Paul were fabulous.

 

 

 

[Dirge]

Nice seeing you this weekend Jim.

 

I have always carried two concertinas in a soft bag with a shoulder strap. My wife got me an Eddie Bauer bag that is perfect for this, but looking at their web site just now, they no longer carry it. I bet you can find something though. So take two and be prepared.

 

Possibly. A small enough soft case might fit under an airline seat, right?

 

Great seeing you, too; you and Paul were fabulous.

I can get an 81 key duet in its box on as handluggage so you should be OK...

[Jody Kruskal]

Nice seeing you this weekend Jim.

 

I have always carried two concertinas in a soft bag with a shoulder strap. My wife got me an Eddie Bauer bag that is perfect for this, but looking at their web site just now, they no longer carry it. I bet you can find something though. So take two and be prepared.

 

Possibly. A small enough soft case might fit under an airline seat, right?

 

Great seeing you, too; you and Paul were fabulous.

 

Thanks, we had a blast thanks to you and the rest of our old friends who came out.

 

As for my double concertina bag... it does not provide as much protection as a hard case, but the whole thing fits under or over my airline seat. The ripstop nylon is quite sturdy and light. I've added some little additional padding. Never had a problem with it and used this as my main gig bag for about 8 years now.

[jdms]

Some while back, John Mock of this forum (at least, he was then) recommended the Gator Cases double pedal bag, noting that it held both his Morses in their cases nicely. I followed his advice and found my Morse and Wheatstone cases fit nicely; the bag itself isn't a whole lot bigger than the two cases together, and adds some padding to the protection from the cases themselves. I've never tried to carry it on an airplane, but I'm certain it would fit in an overhead bin. Under the seat, though, would be out of the question. I believe I've also seen John Roberts carrying two of his concertinas in a double pedal bag--I don't recall the maker of that one.

 

Perhaps one of these days I'll manage a UK trip, concertina in hand...er, bag...

 

jdms