Lachanel Restore

[dennisg]

hi a couple of questions if anyone can help me,first i have rosewood ended 30 button anglo with bone buttons,it looks there was once some material suspended under the fretwork also the oval window in the fretwork where the makers name is ,is empty.does anyone now what material should be under the fretwork and how it's attached (whats the makers name plate made of].

the other question is the button height should i expect ouside the covers.

thanks dennis.

[SteveS]

I have used poplin.

 

Button height should be set such that there is 3mm of travel when pressed.

Edited December 15, 2013 by SteveS

[Wolf Molkentin]

As to the material it depends on your goal(s); silk (that's what I applied to my instrument) won't affect the sound at all (that's what I wanted). If you want some muting you'll go for other kinds of material. This matter has been discussed quite recently.

 

The question of the button height depends as well. If you are talking about the height of the pressed buttons: The majority of (English) concertina players I've met prefered buttons that "vanish" in their holes (nearly) competely, whereas I'm just happy with the buttons of my instrument which still have some mm above the surface when pressed down. I'd guess the height of the released buttons is subject to personal preferences as well.

 

Good luck with your restoration project!

[JimLucas]

The question of the button height depends as well. If you are talking about the height of the pressed buttons: The majority of (English) concertina players I've met prefered buttons that "vanish" in their holes (nearly) competely...

 

Really? I don't recall ever playing a vintage instrument where that was possible. (And I certainly wouldn't prefer it.)

[Wolf Molkentin]

 

The question of the button height depends as well. If you are talking about the height of the pressed buttons: The majority of (English) concertina players I've met prefered buttons that "vanish" in their holes (nearly) competely...

 

Really? I don't recall ever playing a vintage instrument where that was possible. (And I certainly wouldn't prefer it.)

 

 

That's what I seem to have learned from 2012's German Concertina Meeting - maybe it's my fault to have taken the words of few for more than single opinions - but I clearly recall a Lachenal New Model with that feature; I wasn't able to play my tunes on it satisfatorily...

[Geoff Wooff]

 

 

The question of the button height depends as well. If you are talking about the height of the pressed buttons: The majority of (English) concertina players I've met prefered buttons that "vanish" in their holes (nearly) competely...

 

Really? I don't recall ever playing a vintage instrument where that was possible. (And I certainly wouldn't prefer it.)

 

 

That's what I seem to have learned from 2012's German Concertina Meeting - maybe it's my fault to have taken the words of few for more than single opinions - but I clearly recall a Lachenal New Model with that feature; I wasn't able to play my tunes on it satisfatorily...

 

I agree with Jim on this .

 

Usually vintage instruments would have about 3mm, or more, of Button protrusion at the fully depressed point. I do ,however, have one concertina where, due to trying to maximise 'pad lift' in a very tight Action Box, I am left with no more than 1.2mm of Button height (in some places) when depressed. I do find this to be disconcerting ( perhaps that could be 'dis-concertining' ?). My 'low button' problem is in a very early Rasied Metal ended Wheastsone where the Buttons are short and the Pads are very thin .If I were to replace the pads I'd have to make special ones. Luckily this situation must have caused a re-design because slightly later instruments do not have such a cramped action box.

 

Luckily, I have become used to this low Button keyboard because recently I aquired a newly made concertina that also has a low depressed Button action...... now I just have to keep my fingernails short !!

 

PS. I'm sure David Elliot gives figures for button heights in his maintenance manual.

Edited December 16, 2013 by Geoff Wooff

[d.elliott]

As far as buttons are concerned you always, but always, have the crown of the button proud of the finger plate when the key is pressed fully down. This is the same for Anglos, Duets and English system boxes. I usually expect at least 2mm stand off, The damper stack height under he key sets this feature, the objective is to make sure that the key peg does not bottom in the guide hole, and yet when 3mm of travel (1/8 ins) is added and the key is fully lifted the key peg does not come out of the guide hole, thus remaining sufficiently engaged so as to prevent jamming when played at speed. This set up is usually not difficult to achieve on English manufactured instruments, but a lot of the continental reproduction instruments do have their keys sinking below the finger plate.

 

Personally I need to feel the keys at all times as a reference to ensure I stay on the right rows, and most players I deal with tend to the same opinion, When I have had instruments with insufficient dampers stack, they have always felt 'odd' to me. Usually the player has also seen this as a fault and has wanted the key heights lifting a little.

 

Hope that this helps

 

Dave

[Dirge]

As far as buttons are concerned you always, but always, have the crown of the button proud of the finger plate when the key is pressed fully down. This is the same for Anglos, Duets and English system boxes. I usually expect at least 2mm stand off, The damper stack height under he key sets this feature, the objective is to make sure that the key peg does not bottom in the guide hole, and yet when 3mm of travel (1/8 ins) is added and the key is fully lifted the key peg does not come out of the guide hole, thus remaining sufficiently engaged so as to prevent jamming when played at speed. This set up is usually not difficult to achieve on English manufactured instruments, but a lot of the continental reproduction instruments do have their keys sinking below the finger plate.

 

Personally I need to feel the keys at all times as a reference to ensure I stay on the right rows, and most players I deal with tend to the same opinion, When I have had instruments with insufficient dampers stack, they have always felt 'odd' to me. Usually the player has also seen this as a fault and has wanted the key heights lifting a little.

 

Hope that this helps

 

Dave

Playing two keys with one finger (which I do quite a lot) needs them raised at the bottom, especially if you are going for a diagonal pair. Otherwise the pad of your finger would ground before the notes were properly open.

[dennisg]

hi thanks everyone for the

response much apreciated

dennis.