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What our concertinas look like?

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20 hours ago, Wolf Molkentin said:

Steve,  that's amazing - could you give the notes for the levers involved? However, still weird as the chambers are still adjacent...

On the right end (the one with the large rectangular pad for the wind key), there are two crossings. The one on the left, which snakes through some obstacles before it crosses over, is the A4. It crosses over the G#3. This makes some sense as there isn’t space for it higher up.

The other crossing on this side is A3, crossing over the D#3.


On the left end, A2 crosses over D#2 and D2.



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  • 1 month later...

BTW, here's an update (no corrections, just properly set up) to my Crane's button layout, thankfully provided by Geoffrey Crabb (which I chose to post here as this has already been discussed in this thread - as I've been taking the instrument up recently following a three-week-break, gladly finding myself able to continue from where I had been before: 2 to 3 buttons on the LHS and 2 buttons on the RHS are making a lovely noise together).


Best wishes - ?


Crabb Crane 61b (B).jpg

Edited by Wolf Molkentin
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On ‎1‎/‎7‎/‎2019 at 9:05 PM, Wolf Molkentin said:

thank you Rich, looks awesome - you must consider yourself very lucky


I do Wolf.   I just don't want to put it down, it just encourages me to play.    …. My wife has a different opinion though.

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A very nice instrument, Richard. Judging by the seeming lack of wear to the plating adjacent to the thumb straps, it doesn't look as though it has been played very much in its life. I have one, also with Nickel-plated ends, slightly earlier than yours, serial number 28617, dating from October 1920. I bought mine from a friend some years ago, who had originally purchased it from Chris Algar, still it its original leather case which is in reasonable condition. (Most concertinas have passed through Chris Algar's hands at some stage in their more recent life!) Where did you get yours from? They are truly wonderful instruments and when you make chords with the lower notes, it can sound like you are playing a church organ! The only thing missing on mine, which would be useful, given the size and weight of it, is some wrist straps. I have the fittings for them but not the straps. Colin Dipper's wife Rosalie, was going to make some for me a while back but had no suitable leather in stock at the time.



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Thanks Chris, mine came from Chris Algar as well.  I visited with the intention of maybe purchasing the EE 56 key baritone treble (can be seen on his website) but as soon as I held the 64 key in my hands and played a few notes I just knew it was for me.   Like yours mine has the fittings for wrist straps only.   

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  • 2 weeks later...

Here are a few of mine ... I'd posted the Christmas tree in another thread:

Top :  Tedrow C/G 'Harley' Anglo

Middle :  Lachenal 48b Crane, Herrington G/D Anglo, Wheatstone 48b Crane

Bottom :  Connor 55b Crane, Crabb 79b Maccann, Crabb 57b Crane


The 57b Crabb has, I believe, the plated brass ends and reed layout like an anglo, so it is a decidedly different instrument from say, the Connor or the Crabb Maccann with the more usual duraluminum ends.


Though not quite a conertina in the usual sense, I had to show the Shone Matthias Bandoneon because it has an amazing sound and is truly beautiful in its gold-coloured casework.  It also goes down to A1 on the left hand!


I also have a couple of Arno Arnold Chemnitzers (one called a 'Slim Line') that are great fun, if you don't mind playing the equivalent of an apartment complex!002.JPG

Schoma CBA Unisonoric Bandonion_Page_4.jpg



Edited by saguaro_squeezer
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  • 3 weeks later...

Bad case of CAS? From time to time I‘m offered to buy another vintage instrument, and as I‘ve repeatedly turned down these offers, here I couldn’t resist. It‘s the typical George Case treble EC (riveted action and „double“ reed pan), in this case (pun just noticed) with brass reeds, in (rather) high pitch and meantone temperament (I have started a new thread re fine-tuning it), with - I guess - thin leather baffles under the hood. It is, as one would expect, on the quiet side and has a sweet sound which is noticeably different from even my Excelsior...


PS: I particularly like the higher notes, which have a unique bell-like sound - allowing for shifting tunes I‘m playing in f.i. A-minor (to suit my singing voice, instead of possibly D-minor re the concertina sound alone) by an entire octave - tried that with Greensleves to pleasing results.



Edited by Wolf Molkentin
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