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Daniel Hersh

A New Maker? Seven Mount Concertinas

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Dang, no Duet models... :P

 

I really like some of the fretwork they offer, particularly their "Geometric" design. It's good to see a maker stepping outside the customary kinds of fretwork, doing a bold one:

 

Geometric-design-in-Indian-Rosewood.jpg

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While his designs are fresh and construction is unique, I noted that the reeds which he calls "concertina reeds" sure look like accordion reeds in brass frames. So the important question will be, how does it sound? Many of the hybrid makers have come close to a true concertina reed sound with accordion reeds with regular aluminum shoes -- either waxed in or held by screws. It will be interesting to know if the use of accordion reeds in somewhat traditionally shaped brass shoes has brought the sound any closer to that of traditionally made concertinas. Unfortunately, as past recordings have taught us, the difference may not be obvious on Internet recording media. It will be interesting to hear reports from folks who have an opportunity to try these out in person.

 

Ross Schlabach

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I noted that the reeds which he calls "concertina reeds" sure look like accordion reeds in brass frames.

Ross Schlabach

 

Ross--

 

Can you elaborate on what you mean by that? How are you defining "accordion reed"?

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Actually, I've had one of these on order since Willie Clancy Week last year, when Ralf was here with some of his first models. <_<

 

In the meantime I'd heard nothing more from him, but I got an email only a few days ago that I hope he won't mind me sharing here:

 

 

First of all let me apologize that I didn’t get back to you earlier to you. Miltown Malbay brought me very helpful feedback for my concertinas, even if most of the feedback was very positive, I was not absolutely happy with the sound and loudness of my concertinas. So after getting back to Germany I decided to go into another phase of refining the concertina and the reed shaping. I also visited Jürgen Suttner, who was very supportive and gave me tips for the improvement. For a pitty it took more time than expected, so I’m delayed with my delivery – but finally I’m convinced that it lead to a better product.

 

Since December 2013 I’ve started to manufacture the production model and now the first concertinas are delivered to customers. Since the sound and the design changed to some extent, I would like to show you first the final results before manufacturing your concertina. Also there are some options in the design to choose. If you like please have a look at www.sevenmount.com.

 

I think the best opportunity to meet would be the Concertina Convention in Ennis (April 11-13), which I will visit.

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I noted that the reeds which he calls "concertina reeds" sure look like accordion reeds in brass frames.

Ross Schlabach

 

Ross--

 

Can you elaborate on what you mean by that? How are you defining "accordion reed"?

The reed tongues appear to be riveted in place rather than clamped with a screwed bar. I think that is what Ross is referring too.

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I noted that the reeds which he calls "concertina reeds" sure look like accordion reeds in brass frames.

and they also appear not to require valves

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Daniel, Theo is right. I was referring to the fact that the reeds were riveted rather than clamped as been the more common method for traditional construction -- notwithstanding Wheatstone's use of riveted reeds in some of its earlier instruments. Steve noted the absence of valves. I would imagine that the photo was taken before the valves were installed since it is difficult to believe the concertina would work properly without them.

 

Ross Schlabach

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Daniel, Theo is right. I was referring to the fact that the reeds were riveted rather than clamped as been the more common method for traditional construction -- notwithstanding Wheatstone's use of riveted reeds in some of its earlier instruments.

 

Thanks. Wheatstone used non-screwed-down reed tongues in many of their post-WW2 instruments too. I would still call these reeds and all those Wheatstone reeds concertina reeds, though. And unlike those late Wheatstones, this new maker seems to using concertina-style dovetail mounting of the reeds onto the reed pads.

 

The whole issue issue of what distinguishes concertina reeds from accordion reeds is of course a larger discussion that we've had here before.

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I met Ralf a while ago at an Irish event at Proitzer Mühle and had a chance to play one of his instruments. I was quite impressed with sound and action! He lives in a German region called "Siebengebirge", which roughly translates into seven moutains;-)

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I met Ralf a while ago at an Irish event at Proitzer Mühle and had a chance to play one of his instruments. I was quite impressed with sound and action! He lives in a German region called "Siebengebirge", which roughly translates into seven moutains;-)

Interesting!

I know the Siebengebirge well - in fact, just this evening I returned from a trip there to visit my mother-in-law!

 

So whereabouts in the Siebengebirge does Ralf live? I'll be back there again in a week or so, and it might be a good idea to look him up and have a go on one of his Anglos.

 

Cheers,

John

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So whereabouts in the Siebengebirge does Ralf live?

 

John, he lives at Wachtberg, his contact details are here on his website.

Edited by Stephen Chambers

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Dang, no Duet models... :P

 

And no English either..... :unsure:

 

Lads, would you let the poor guy get started on the easy ones first, before he goes onto proper concertinas... ;)

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Dang, no Duet models... :P

 

And no English either..... :unsure:

 

Lads, would you let the poor guy get started on the easy ones first, before he goes onto proper concertinas... ;)

 

:lol:

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Dang, no Duet models... :P

 

And no English either..... :unsure:

 

Lads, would you let the poor guy get started on the easy ones first, before he goes onto proper concertinas... ;)

 

 

But Duet is easier... oh, you mean easier to build. Roger that.

 

 

All I'm asking for is a simple square-shaped, just-temperament Hayden Duet with enharmonic tuning at the far chromatic ends, coloured-glass buttons (clear for diatonic, red chromatic, blue enharmonics), and computer-cut nickel-plate ends in an Art Deco fretwork pattern. Is that really so much to ask???

 

 

 

 

 

 

 

^_^

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