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Cherepashka-harmonica

Looking For The Developer Of This Concertina

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Please note that the prototype 65 button Hayden system system concertina made by Nicoli of Moscow had a few accidental faults and an acoustic fault. It was however overall a very good instrument. I doubt if an instrument at "piccolo" pitch would find a very large audience. But I am sure that a 65 button 7" concertina at the usual register, should find a market worldwide

Please feel free to contact me with anything that you wish to know about Hayden system concertinas.

 

Brian Hayden

Inventor.

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First my apologies for spelling Nikolai incorrectly, and also note that my name is spelled Hayden.

 

It is a long time since I had Nikolai's prototype in my hands, but I will describe the few faults as accurately as I can.

 

1) The Hand-rest was not in the quite the right place. The correct place is a little closer to the button arrays. This is shown in the diagram that I supplied to Samantha and you show above. The hand-rest is also a little high. I had to cut a little off the top of it diagonally, with the space which was under the forefingers about a half inch higher than the space under the little fingers.

 

2) One pair of reeds on the left hand side was placed on the reed-plate the wrong way round, so that the tips of the reeds were immediately under the sound hole. These reeds should have run the other way with the rivets closest to the sound hole; as did all the other reeds on the instrument. The sound from these reeds while absolutely awesome, was much too loud and did not match the much more mellow and warm sound of the other notes.

 

3) On one side of the instrument the links that connected the Abs & G#s and the Ebs & D#s connected to the opposite sound hole that they should have. I cannot now remember if this was the left or right hand side as it is now about 15 years since I had the instrument in my hands.

 

4) The wood in the fretwork of the ends was very thin and could easily have been broken, perhaps you have corrected this on your new instrument.

 

On the acoustic problem: Nicolai himself mentioned that the lowest two notes ( F & G ) did not have enough air. I think he meant that the tone-chambers for these two notes was not large enough. On concertinas made in England it is usual for the reed-pans to run at a slight diagonal so that the tone-chambers of the lowest notes are somewhat deeper than the higher notes.
I can see another solution to this problem but it would involve a little re routing of the action and making the whole instrument 0.25" (6.35mm) wider.

 

I do hope that Samantha will come forward to supply an accurate Russian translation of my highly technical language that I have written above.

 

Inventor.

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Posted Today.04.53pm

First my apologies for spelling Nikolai incorrectly, and also note that my name is spelled Hayden.

Первым делом, прошу прощение за то, что я неправильно написал Николай, и прошу Вас заметить, что моя фамилия пишется «Гаиден».

 

It is a long time since I had Nikolai's prototype in my hands, but I will describe the few faults as accurately as I can.

Я долго не держу в руках Николаин прототип в руках, но постараюсь описать недостатки как возможно подробнее.

1) The Hand-rest was not in the quite the right place. The correct place is a little closer to the button arrays. This is shown in the diagram that I supplied to Samantha and you show above. The hand-rest is also a little high. I had to cut a little off the top of it diagonally, with the space which was under the forefingers about a half inch higher than the space under the little fingers.

Опора для руки неправильно вставлена. Должна быть чуть ближе к кнопкам, как показана в схемах которые я передал Саманте, включены Вами выше. Опора слишком высокая, немного. Мне надо было отрезать немного сверху по диагонали. Пространство под указательными пальцами на сантиметр выше,чем пространство под мизинцами.

2) One pair of reeds on the left hand side was placed on the reed-plate the wrong way round, so that the tips of the reeds were immediately under the sound hole. These reeds should have run the other way with the rivets closest to the sound hole: as did all the other reeds on the instrument. The sound from these reeds while absolutely awesome, was much too loud and did not match the much more mellow and warm sound of the other notes.

На левой стороне одна пара язычок вставлена не в ту сторону: кончики язычки оказались прямо под звуковой отверстии. Их надо было вставить в дорогую сторону,наклепками ближе к звуковой отверстии как все остальные язычки в инструменте. Звук от этих язычков хоть и потрясающий, был слишком громким и не соответствовал более сочному и тёплому звуку других нот.

3) On one side of the instrument the links that connected the Abs & G#s and the Ebs & D#s connected to the opposite sound hole that they should have. I cannot now remember if this was the left or right hand side as it is now about 15 years since I had the instrument in my hands.

На одной стороне инструмента рычаги которые соединяли ля бемоль и сол диез, ми бемоль и ре диез были связаны не с должной звуковой отверстии. Сейчас не помню на правой ли или левой стороне так как 15 лет прошло как я держал инструмент в руках.

4) The wood in the fretwork of the ends was very thin and could easily have been broken, perhaps you have corrected this on your new instrument.

Дерево резного украшения каркаса слишком тонкое и его легко разбить. Может быть Вы уже скорректировали это в новом инструменте.

On the acoustic problem: Nicolai himself mentioned that the lowest two notes ( F a G ) did not have enough air. I think he meant that the tone-chambers for these two notes was not large enough. On concertinas made in England it is usual for the reed-pans to run at a slight diagonal so that the tone-chambers of the lowest notes are somewhat deeper than the higher notes.

I can see another solution to this problem but it would involve a little re routing of the action and making the whole instrument 0.25" (6.35mm) wider.

По поводу акустической проблемы: Николай сам заметил, что два самых низких нот не имели достаточного воздуха. Я думаю, что он имел ввиду, что звуковые камеры для этих двух нот – узковаты. В концертинах сделанных в Англии обычно язычковые планки идут наискосок для того, чтобы нотные камеры самых низких нот были немного глубже, чем те у высоких нот.

Вижу другое решение для этой проблемы, но оно потребует переустановка механизма, и инструмент становится чуть пошире (на 6.35мм).

 

I do hope that Samantha will come forward to supply an accurate Russian translation of my highly technical language that I have written above.

Надеюсь, что Саманта появится и даёт точный перевод моего довольно технического объяснения выше.

Inventor.

Изобретатель.

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