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It is still a long way before I put in the reeds because I can only spare a little time each week on this project, but yes, I'm getting really excited - is it going to sound/act terrible or will it prove at least acceptable :)

However - I'd bet you wouldn't have to blame the bellows at least...

 

Best wishes for future working on your project! Wolf

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  • 5 months later...

Kudos for branching out on fretting. As much as I enjoy the old vintage concertinas, I don't see a need to anachronistically stick with Victorian motifs for all time, so it's great to see a maker using new fretwork designs.

 

I can't tell if it's real or optical illusion from the color of the wood, but is the end curved upwards towards the middle, or is it reasonably flat and just relieved where the vines cross under?

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Maybe it is best to show it from another angle:

post-10030-0-27382400-1411381036_thumb.jpg

post-10030-0-46220800-1411381058_thumb.jpg

 

Yes, there is a 5mm difference in level between the center and the most outer edge and 4 different (sometimes smoothly connected) levels altogether. Since first pictures I have milled the outer edge more, so now it goes past the screw holes and not through them.

 

My fretwork isn't based on acoustic principles, as I haven't build a prototype to experiment on dampening/reflection. I intend to use inner baffles if the need for closing some areas should arise.

 

And I definately agree with you, that there is a lot of opportunities for interesting design of endplates, especially on non-traditional layouts like Hayden or Chromatiphone. OTOH I understand that this is just a result of a market structure: concertina is percieved as a traditional folk instrument and vintage concertinas are a natural reference point. And to be honest, I have chosen art noveau because newer periods in design (except perhaps art deco) do not privide anything as aesthetically pleasing as pre-'60s periods. There is also a practical reason - victorian patterns look good when just cut out flat. Art noveau, floral and art deco designs need substantially more labour to be attractive. Some examples: http://carrollconcertinas.com/64.html , http://www.concertina.net/images_gs_adventures/dipper_left_sm.jpg or http://sevenmount.de/?page_id=42 - especially this last link best illustrates, that you need at least a second, engraving pass to make those designs look good. I'm building this instrument for myself, so I can go with 40+hours of carving, but I don't expect any manufacturer to do this… Would you pay 500$ extra just to have a 3D carved ends?

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A word of caution:

 

At one time I build myself an instrument , because I could not find anyone who would make what I wanted and, of course, I could not afford to have someone else make one either. Sound familiar Lukasz ?

 

When I had the thing made some people asked me to make one for them.... 36 years later I am still making them for other people !! I never made any great amounts of money doing this but it still took over my life completely .

 

Your project is coming along well now !

 

Geoff.

Edited by Geoff Wooff
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While I admire the 3D, it's not something I'd order for myself, as I like a nice flat end. Though I do wonder if it could be done effectively with a scanner communicating to a 3D wood milling machine or whatever.

 

In any case, yes, forward-leaning fretwork can be beautiful. I'm particularly impressed by these fellows:

 

30if7v9.jpg

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