An Interesting Piece Of History

[DDF]

http://www.ebay.co.uk/itm/Concertina-Letter-/172100414203?hash=item2811fbeafb:g:lz4AAOSwDuJWvys3

[JimLucas]

http://www.ebay.co.uk/itm/Concertina-Letter-/172100414203?hash=item2811fbeafb:g:lz4AAOSwDuJWvys3

 

Not just an interesting piece of history, but with a tantalizing reference to Wheatstone's trying to develop a bidirectional reed, a concept which has been a recent topic in these forums. Is that something that has been mentioned/documented elsewhere, or is this the first hint that they were actually working on such a development?

[Rod]

Are ' purer tone ' and ' greater equality of tone ' particularly evident when directly comparing an octagonal instrument with a similar, but hexagonal, instrument ? If so would tone be enhanced still further with a multi-sided, or circular instrument ? To what extent Is it even possible to define what might be meant by ' purity ' and ' equality ' of tone ?

[Alan Day]

I once had an article ,with a Wheatstone heading, that was inside a concertina box and it referred to the fact that tests had shown that a circular instrument was found to have the best tone and due to manufacturing difficulties a hexagonal, or multi sided concertina was the nearest that they could manufacture to that specification.I stupidly lent it to somebody who cheekily sent me a photograph copy of it which later disintegrated.

Al

[Stephen Chambers]

http://www.ebay.co.uk/itm/Concertina-Letter-/172100414203?hash=item2811fbeafb:g:lz4AAOSwDuJWvys3

 

Not just an interesting piece of history, but with a tantalizing reference to Wheatstone's trying to develop a bidirectional reed, a concept which has been a recent topic in these forums. Is that something that has been mentioned/documented elsewhere, or is this the first hint that they were actually working on such a development?

 

I can only presume the reference in the 1906 letter is to Charles Wheatstone's 1844 Patent Jim, in which a system of valves was employed to make the same reed speak in either direction.

 

There's been some discussion of the subject here previously: Same Reeds For Push And Pull

[Stephen Chambers]

I don't for one moment believe that the actual shape of the instrument in itself influences the tone of a concertina, but having a more-circular/multi-sided shape makes it possible to employ longer-scale reeds - and they DO affect the sound...

[nicx66]

I am curious as to whether the number of facets/sides effects the volume of air in the bellows. If you have two concertinas that are both 6" across the flats, one with 6 sides, one with 12, the bellows on the12 sided one would have a slightly larger volume, no?

[Wolf Molkentin]

I am curious as to whether the number of facets/sides effects the volume of air in the bellows. If you have two concertinas that are both 6" across the flats, one with 6 sides, one with 12, the bellows on the12 sided one would have a slightly larger volume, no?

 

I guess this would only be true if you'd messure across the edges whereas in your case the opposite would be true.

[Stephen Chambers]

I am curious as to whether the number of facets/sides effects the volume of air in the bellows. If you have two concertinas that are both 6" across the flats, one with 6 sides, one with 12, the bellows on the12 sided one would have a slightly larger volume, no?

 

No, it's the opposite.

 

A 6-sided concertina measuring 6" across the flats has sides approximately 88mm long, giving an area of 20,131.84 sq. mm.

A (hypothetical) 12-sided concertina measuring 6" across the flats would have sides approximately 42mm long, which would give an area of 19,760.50 sq. mm.

 

But, in reality, only Jeffries, Crabb and similar models of "normal" 6-sided concertina are actually 6" across the flats.

 

A standard hexagonal Wheatstone or Lachenal measures 6 1/4" across the flats and has sides approximately 93mm. long, giving an area of 22,470.76 sq. mm.

Whilst both Lachenal's and Wheatstone's made their "artistic" Edeophone and Aeola models slightly larger across the flats:

 

A standard octagonal Wheatstone Aeola measures 6 1/2" across the flats and has sides approximately 69mm. long, giving an area of 22,988.14 sq. mm.

A standard dodecagonal Lachenal Edeophone measures 6 5/8" across the flats and has sides approximately 46mm long, giving an area of 23,691.06 sq. mm.

 

But those are just the areas of the ends - other issues like the depth they are inset from the bellows frames, and also the depth and number of folds, will affect the capacity of a bellows...

Edited February 21, 2016 by Stephen Chambers

[Robin Harrison]

Just posting this for those who may not have seen it before.

Round Lachenal 1.bmp

[Stephen Chambers]

Just posting this (photos of a Lachenal Edeophone with circular ends) for those who may not have seen it before.

 

Yes, they made a small number of Edeophones with circular ends, but the 12-sided ones roll badly enough (off tables, etc.! ) as it is, and a lot (like mine) have cracks in their wooden ends as evidence of it - so I'm not surprised they didn't make too many round ones...

 

But the bellows of them are still dodecagonal.

Edited February 21, 2016 by Stephen Chambers

[Stephen Chambers]

Are ' purer tone ' and ' greater equality of tone ' particularly evident when directly comparing an octagonal instrument with a similar, but hexagonal, instrument ?

 

FWIW - I was complimented on the "crystal" tone of my c.1902 Aeola, and its dynamic range, last night.

 

(It's a very early, metal-ended, octagonal 56-key treble, #23331 - so made only a very few years prior to the 1906 date of the letter in question.)

[Wolf Molkentin]

Just posting this for those who may not have seen it before.

 

Interesting, Robin! Would you be able to provide a better (i.e. of higher resolution) pic? I would appreciate that.

 

Best wishes - Wolf

Edited February 22, 2016 by blue eyed sailor