How to judge the quality of an instrument

[Rod Pearce]

I am on the lookout for a 30 key anglo that I can restore, with the intention of keeping it as a progression from my existing 20 key (Lachenal, badged as Campbell's Glasgow).

 

I do not want to pay more than £400 to £500 for the instrument before renovation as I am still in the early stages of learning, but would naturally like to get as good a quality as I can.

 

AS EBAY is the likely source for me, seeing / playing the instrument before buying is probably not an option. Are there any rules of thumb that would indicate overall quality. All I have to go on  at the moment is price, look (eg fretwork) and makers name.

 

For example,

- is the complexity of fretwork pattern and indicator of quality?

- are the reeds better in more expensive instruments?

- ditto action?

 

I would be grateful for any thoughts.

 

Rod

[Ken_Coles]

If it is an old instrument in need of rebuilding, condition will as important or more important than original build quality - you can find reeds have been swapped out, action parts missing, and so on. Better might be to find someone in the UK who will do right by a beginner and sell you a known quantity in need of work. I'm sure folks will chime in with possible sources or other suggestions.

 

I expect you can find something, but you may have to hunt for a bit.

 

Ken

[Wolf Molkentin]

what Ken says, however more elaborate fretwork would in fact be an indication of probably better quality when the instrument had been produced...

[d.elliott]

There are several indicators of the grade of a concertina. 

 

1, the use of rosewood, metal or ebony on the ends not just plain mahogany

2, the complexity of the fretwork

3, keys (especially metal keys) being bushed with felt where they pass through the fingerboard

4, round the face of the action box, the machining of an ogee trim.

5, the number of folds on the bellows

6, steel tongued reeds as opposed to brass

7, the pattern chosen for the bellows papers

8, 

 

Dave

[Rod Pearce]

Ken, Wolf, Dave

 

Thank you all for your replies, very helpful.

 

Best regards

Rod

[Daniel Hersh]

2 hours ago, d.elliott said:

There are several indicators of the grade of a concertina. 

 

1, the use of rosewood, metal or ebony on the ends not just plain mahogany

2, the complexity of the fretwork

3, keys (especially metal keys) being bushed with felt where they pass through the fingerboard

4, round the face of the action box, the machining of an ogee trim.

5, the number of folds on the bellows

6, steel tongued reeds as opposed to brass

7, the pattern chosen for the bellows papers

8, 

 

Dave

 

All true, but I would add that Lachenal reeds can vary in quality even within one grade of concertina.   I have a 20-button Lachenal with simple-fretted mahogany ends that has very responsive reeds, and I have played Lachenals with complex rosewood fretwork that had pretty bad reeds.  I agree with Ken that it might be best "to find someone in the UK who will do right by a beginner and sell you a known quantity in need of work."  I know that Barleycorn Concertinas will occasionally sell unrestored instruments.  They might be a good bet for this and they may be able to tell the reed quality on what they're selling (if the bellows are in good enough shape to try out the reeds).

[Rod Pearce]

Daniel, thank you for your input.

 

I have a small collection of 20 key and 48 key instruments that I have restored over the last few years, Lachenal and Wheatstone.. The 'Campbells' Lachenal  I am currently learning on  actually came from Chris Algar about 18 months ago. I bought it as needing the pads and valves replacing, and one of the ends was badly damaged. I made a new end for it, updated the internals, polished and tuned it. I am very happy with the result and I think it is the best player (before and after pictures attached).

 

I did contact Chris earlier this year with regard to a 30 key for restoration but at the time he had none available. I will probably refresh my interest and see what develops.

 

 

 

 

 

[Stephen Selby]

One small point: as others have said, concertinas can be fixed in many ways. But if the long screws (holding the ends to the bellows) have rusted and can't be unscrewed, then you are in for an uphill battle. (Basically, you're screwed.)

[d.elliott]

Stephan,

 

not screwed but maybe you will end up poorer for the experience. It is almost a truism that anything can be repaired if you throw enough money at it, and have a friend who knows what to do.

 

Dave

[hielandman]

Hello All, 

 

as for the frozen end bolts, that is not much of a big deal if you know how to deal with it.  One of my first postings on this site dealt with asking for help with that, (maybe 2003-2004? Long time ago!), and I think it was old Nickkilby (I think!) who came to my rescue.  He recommended the use of a soldering iron on the screw/end bolt head to heat it up(watch it closely!), and, just like heating up any frozen bolt or pipe with a torch, the expansion and contraction of the heating and then cooling will free it up.  I've had to do it several times over the years to various instruments I have picked up, and it works, just watch that you don't burn the wood!  

And Rod, if you don't yet have a copy of David Elliot's book on Concertina repair, by all means get one, it is a great resource.  

Good luck in your search, half of the fun is in the thrill of the chase!  Take care, 

 

Don

 

[Chris Ghent]

On 9/18/2019 at 1:16 PM, Stephen Selby said:

One small point: as others have said, concertinas can be fixed in many ways. But if the long screws (holding the ends to the bellows) have rusted and can't be unscrewed, then you are in for an uphill battle. (Basically, you're screwed.)

There can be further complications, but if the heat method does not work, grind the head of the screw off, lift the action box off the screw, if the screw still won’t come out replace the screw and the captive nut. 

Edited October 2, 2019 by Chris Ghent

[Theo]

Better quality concerto has don’t have steel end bolts.