Wheatstone Golden Era Defined

[4to5to6]

What is the Wheatstone Golden Age or Golden Era all about? I was told this was 30xxx to 32xxx (1924 to 1933), others say 1900 to 1930. Some strongly object to this narrow of range and others insist it is exclusively only 31xxx instruments.

 

I know every concertina is an individual and so it depends strongly on current condition, the reed tuning (re-tuning) condition / skill, the voicing, whether it is played in, air tightness, bellows condition, etc. etc. and I certainly agree that an older less popular instrument can be much superior to a rarer more expensive one. There is collector's antique value vs. players instrument value. Tone quality and even volume, dynamics and responsiveness can all be subjective.

 

It seems the musical quality of an instrument is hard to define but most agree that you can instantly tell when it's there. You just know it! The instrument speaks out and is expressive. You connect with it.

 

So is the Wheatstone Golden Age about reed pan design, action design, materials, quality of workmanship, etc. etc. or is this a collector's thing?

 

All things being equal... What makes these instruments superior?

 

This is probably not an objective thing (or is it?), but more of an opinion thing. I see this phrase a lot so have to ask... What is the Wheatstone Golden Age and when was it?

Edited October 15, 2016 by 4to5to6

[Geoff Wooff]

There are perhaps only a few members here who have had enough Wheatstones through their hands to be able to give definitive opinions about Golden periods. Some of those that could are perhaps ' dealers' and might not want to share their findings with the world, and then one would need to be a reasonable player to be able to determine limits and qualities etc.

 

I have owned quite a few EC Wheaststones over the years and worked on many others when I used to offer a tuning service. The two I own today represent the best 'players', though distinctly different both in their use and their Period.

 

One that I use wih a dance band, has huge dynamic range and projection and dates from 1898. It is a 'flat reedpan' model 22 ( perhaps a Pre- 22 because it has different features and I can see an evolvment happening, as if this was an early attempt). I worked on several of these for other people , back in the 1970's and just loved their voice and speed, though it took me nearly 40 years and the advent of C.net to find one for myself.

 

The other is an ultimate Aeola from 1927 , a Baritone/Treble, which allows for melody in the normal treble range and accompaniment to that melody in the lower ranges with neither one drowning out the other... a fine soloist instrument. I have owned three Aeolas from 1927 and they were the best I ever tried.

 

There are Wheatstone periods I really do not like, but my sample is still small in comparison with even the 20th century production so maybe I was unlucky to find some less than exciting examples.... It also depends what you want from the instrument. The important thing, that should be repeated; each instrument needs to be judged on its merits, each is individual, though they were factory made there will be good ones and better ones in each batch.

 

For EC's do not rule out a good Lachenal 'New Model'... I use a Rosewood ended one for Irish sessions, it's tone blends well with fiddles , flutes and Anglos. Again 'Period' is probably important but as with all instruments it is how they speak which is more important than when they were made.... although as I have recently found out with ventures into the accordion world, there were sound and function fashions which determine much of what we each will be looking for.

 

Edited October 17, 2016 by Geoff Wooff

[Patrick McMahon]

I think if you follow the money, you won't go far wrong.

Most buyers think long and hard before they part with their cash.

There may be some silly asking prices, but the prices things actually fetch says a lot about what is a golden era.

 

That, and the relative abundance of the particular model you want. So a golden era of quality might not get the recognition it deserves, if there are lots and lots available from that particular era.

 

This example might suggest that it comes from a golden era. But maybe it's a combination of quality and scarcity.

[4to5to6]

I wholeheartedly agree. The instrument must fit into the mix. What sounds great as a solo instrument may completely get lost in an Irish session for example. So "The Best" is very subjective.

 

1927 serial numbers range from 31332 - 31773. Geoff, what made the 1927 ones you had so good? Was it the tone? Responsiveness? Balance between treble and low notes? Was there anything that stood out in the design, materials, workmanship, etc.? Maybe the reed scaling was different? What was going on in the history of Wheatstone around 1927?

 

Off the topic... What is the range of your 1927 Baritone/Treble and how many buttons does it have? What model # is it? Serial maybe so I can look it up?

[Geoff Wooff]

The three 1931 models I owned were in a very tight number group :

 

31518 my current model 14... there's a picture of it somewhere on here and several pieces recorded for the Tune of the Month forum mostly on Soundcloud under my name... though the first is embeded on tune of the month for march 2013.

 

31529 is a "Brittania Metal" ( a Tin alloy something like Pewter) ended 70 key Maccann which has the most marvelous tone I have heard on any concertina. I bought it from a member here and traded it to another....who has not posted any recordings of it since he aquired it... he took umbridge at comments made by someone who should have been above all that, no names.

 

31536 is a TT aeola I bought from Harry Crabb in the early 1970's, my first really good concertina , thus it became my 'reference'... shame to have started with the best as everything that followed was a wee bit ordinaire in comparison. It was a very hard used instrument, before I got it... needing new bellows, new woodwork, replated ends... superb player though.

 

If you study the instruments listed as being made by Wheatstones at that time there are many specials and fine finished models. I imagine it was the last flowering of quality in the face of very stiff competition from the fast rising and fashionable accordion. Perhaps enough years had gone by following World War One, New Craftsmen being trained, quality materials more available and the economy was booming... prior to the busts of the 1930's.... one can see a definate cutting of costs during the '30's and fewer instruments being sold. Following WW2, when anything and everything was exported, especailly to the USA.. the need for Britain to earn dollars to pay back the war depts.... etc etc..... the quality really went down the pan... besides nobody in England could afford such a luxury so those of us on this side of the Atlantic are spared many of these plywood versions.

Edited October 16, 2016 by Geoff Wooff

[4to5to6]

Thanks Geoff

 

I often wonder why the more "hard use" an instrument experiences, the better it sounds?

 

Your 315xx examples fall nearly right in the middle of 1927. 31536 dates Aug 26, 1927

 

http://www.horniman.info/

 

1927 = 31332 - 31773

 

31000 = Feb 18, 1926

31999 = Nov 5, 1928

 

Interesting.

[Geoff Wooff]

Hard used instruments sound better ?

 

I'm not sure if one can make any rules about this but one of my concertinas does not like being unplayed... it is the one which , due to its carrying power, does not get played in the house ( dog sings, or is she crying in pain) , so when I pick it up at sound check or band practice it does not give of its best... only half an hour into a session will it begin to really sing its heart out. Though even before it has warmed up it is still a great player. Yes the harder it is played the happier it sounds , yet it does not appear to be an instrument that has had a hard life before I got it.

 

The Baritone/Treble has had a hard life though, even in more recent years it was used semi professionally to pay my friend's way through University, using it in a band and for song accompaniment... and was probably originally purchased by a professional player. the original case did not survive and much of the external wood work is well worn... but it continues to delight.

 

I would not generally choose a concertina that looks as if it has had a hard life... but I do take note of the period... though giving a test drive is the only true way to know if it's for you.

[nicx66]

per 31529 Brittania model: Do you think they were using high quality tin plate? i.e. a very thin sheet of iron/steel with a thicker than usual coating of tin

 

OR was it something else entirely.

 

second question: Do you believe this material contributed to the tone you described?

[Geoff Wooff]

Hi Nicx66,

 

well, the material is described as "Brittania Metal" in the Wheatstone ledgers . Being an instrument maker I have an interest in materials and their effect on tone. We know that the material of the end plates does contribute to ( or filter) the sound. If we consider the tonal variance between two ostensibly identical concertinas that have different species of wooden ends... if we had enough examples to make a definitive assessment, we should be able to determine which at least we prefer.

 

I recently had two almost identical concertinas; one had laminated Pearwood ends ( described as Ebony ) and the other had solid Rosewood ends. I was interested in the tonal differences between the two. I noted that the, originally cheaper, Rosewood model's tone was stronger, clearer... more like a half step towards a metal ended version by comparison.

 

So, I did investigate the construction of that Brittania Metal ended Aeola and could find no other reason for it's unusually warm , but full, tone than the end plate material. Wikipedia defines Brittania Metal as being 92% Tin, 6% Antimony and 2% Copper and I think that was what covered the ends of the instrument. It was a 'Special' or custom layout MacCann duet , having the same size as a normal 72key model but with the right hand keyboard of an 81key version... thus the overlap of the two sides was greater. So I guess it was an instrument ordered by a professional player, with stipulations that might have included tonal requests but perhaps the material was chosen for its smooth and shinny appearance and the beguiling tone was an unexpected bonus , though I've a feeling Wheatstones had made other Brittania Metal ended instruments.

 

Brittania Metal is not generally available these days but I did think that making metal ends from Standard Silver might have a similar tonal effect.

Edited October 18, 2016 by Geoff Wooff

[4to5to6]

I have been contemplating building a number of different wooden ends to fit my model 22 metal ended treble. That way everything will be consistent except the different ends. Also thought of trying different fretwork patterns including the early Aeola dot & comma pattern while I'm at it. I've down the CAD drawings, just need the time, money for materials and a place to work. Maybe one day.

 

You know... I don't really understand how the ends affect the sound as it's a total mystery how the reed generated air vibrations even travels through a concertina. For example, with two sets of reeds on an English, why are there reed pan chambers only on the outside of the pan? Wouldn't this chamber only be active on press when the air inside the bellows flows through the inside reed, pulsates or cuts up the air flow causing a tone, goes through the valve then into the chamber and finally out through the open pad hole and out the fret work. But what about on pull when the air flows inward? Does the sound still go outward? Probably a dumb question but it appears it does and so a total mystery to me! I've always wanted to make some models to experiment with how the sound travels through then start doing experiments with chamber sizes, pad hole sizes, reed scaling, etc... even how the thickness of valve material affects the tone. I've asked this a few times with conflicting answers. Probably getting off topic and maybe should be in a new thread but your comments on Britannia metal got me thinking about it again. Maybe someone could explain it quickly and especially the affects of different valve thicknesses and stiffness.

 

Why are shallow reed pans louder? What about mahogany reed pans? And this is all apart from the different types of reed material which radically affects the tone. It would awesome to be able to go back 90 years and pick the brains of one of Wheatstone's master builders. Wouldn't that be something?!!

Edited October 18, 2016 by 4to5to6

[4to5to6]

I just started a new thread requesting info on the path of sound waves through a concertina:

 

http://www.concertina.net/forums/index.php?showtopic=19123

[Paul_Hardy]

For example, with two sets of reeds on an English, why are there reed pan chambers only on the outside of the pan? Wouldn't this chamber only be active on press when the air inside the bellows flows through the inside reed, pulsates or cuts up the air flow causing a tone, goes through the valve then into the chamber and finally out through the open pad hole and out the fret work. But what about on pull when the air flows inward? Does the sound still go outward?

 

I have two George Case concertinas that have double chambered reedpans - that is they have chambers for both sets of reeds. See 2760 and 3087. I do like the tone of them, and 2760 is probably my favourite 'round the house' tina. However they are appreciably heavier and a bit bulkier than a standard English, and presumably the manufacturers decided that the extra effort (and cost) wasn't worth it.

[Stephen Chambers]

Having owned #25045 (a 56-key treble, ebony-ended, Aeola in 100% original condition) for many years, and now #25100 (a 48-key "Special" that's basically an octagonal Aeola in a "Best Hexagonal", ebony-ended, body) I'd consider 1910 a very good year...

[4to5to6]

So I guess it is 1927 or 31xxx. Any reason why?

[BW77]

 

For example, with two sets of reeds on an English, why are there reed pan chambers only on the outside of the pan? Wouldn't this chamber only be active on press when the air inside the bellows flows through the inside reed, pulsates or cuts up the air flow causing a tone, goes through the valve then into the chamber and finally out through the open pad hole and out the fret work. But what about on pull when the air flows inward? Does the sound still go outward?

 

I have two George Case concertinas that have double chambered reedpans - that is they have chambers for both sets of reeds. See 2760 and 3087. I do like the tone of them, and 2760 is probably my favourite 'round the house' tina. However they are appreciably heavier and a bit bulkier than a standard English, and presumably the manufacturers decided that the extra effort (and cost) wasn't worth it.

 

I have two Case instruments also, slightly earlier than those. One almost identical with 3087 with double reed chambers and the other one with the ordinary arrangement. They both have a mellow tone but I actually wouldn't say there is any difference beetween them. but....originally the double chamber one had a leather cover -"baffle" - underneath the endplate and the other one a very thin pine board. Both definitely have influence on the tone in the same way as similar covers used on many accordion models have, some damping of higher overtones making the tone softer. Like, as far as I know, all instruments from this period both also have reed chambers running all the way to the inner hole without partitions, except for some few top notes.