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I like distilled shellac. Allow ready made shellac to vapor off its alcohol till it is reduced by 60%. A little trial and error will give you the right viscosity. (You can always add more shellac if it gets too thick. The advantage is that in revalving the shellac come off the wood easily and usually doesn't leave a piece of the valve behind. The person doing the next valve change will thank you.

 

Greg

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I agree with Greg in using shellac. I make up my own solution with shellac flakes and meths using a thinnish consistency for french polish and as the spirit evaporates, the thicker consistency for valve "glue". You don't need a lot for valves and the consistency is controllable. I imagine the small bottles of button shellac would be just as effective and relatively inexpensive.

 

One of the makers I know disagrees quite strongly and prefers a white glue or an aliphatic resin and I wouldn't argue with him either! (but please don't use Evostik or one of the rubbery glues)

 

Alex West

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The problem with non water soluble glues is that, while white glues perfectly well, it is very difficult to remove when replacing the valves. A water based glue like hide glue works well. I know stronger-holding glues like fish glue also work, but we're not holding the Brooklyn Bridge together. Stronger glues are not necessary for the job. A school glue stick, applied with a toothpick also works quite satisfactorily. None of these glues will fail to hold the leather valves onto the wooden reedpan. Now for Italian-style reeds, like accordion reeds, these glues will not necessarily by satisfactory. I have found "Weldbond" works well for accordion reeds whenever they need to be replaced.

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i am in the process of changing the pads on my 30 button lachenal anglo an i have noticed that the old pads (which are very old) are smaller in diameter than the groove cut into the wood,which according to david elliots book the pads must seat on top of them ,is this very importent? thanks dennis.

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The circular lines scribed into the pad board are, of course, concentric with the air holes and serve to help align the pads when replacing them.

That the old pads are a little smaller than these lines is not unusual... they could also be replacements.

 

Minimizing pad size can increase output volume but a little extra overlap of hole coverage may help with air tightness...

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Geoff said:

Minimizing pad size can increase output volume

 

I've never heard mention of this before and would be interested to know more...

Well,

it is like this..... the Pad acts like an Umbrella (or a damper) over the air hole to the reed chamber. The first thing that the sound wave hits on its way out of the concertina is this Pad...( or more technically , some of those sound waves ). This Pad is soft faced with some shock absorbing material sandwiched between the face leather and the backing cardboard. Thus it will soak up some of the sound.

 

Now if the Pad is not lifting very far from the hole there will be a damping of the issuing sound and likewise if the spread of that Pad ( its width/ diameter) is larger it will cause more of the sound waves to hit it and be somewhat dampened.

 

In the same way that a Metal ended concertina will generally be (or appear to be) louder than a Wooden ended version, due to the density différences (?) or sound reflexion qualities ... so will a concertina with less Pad dampening effect.

 

I managed to scrape more power out of one of my Concertinas by removing one of the dampening felt washers from Under each Button... thus the buttons now go further in when pressed and the pads rise up further from the holes. Minimum sized Pad diameters will also have an effect... how much of an effect is hard to say... your mileage may differ. :)

Edited by Geoff Wooff
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