The Virtues of Scrap/Junk/Salvage Concertinas

[Matthew Heumann]

There is always so much discourse about how and where to get concertina repairs and whether or not you are skilled enough to do it yourself. As I sit here restoring a Wheatstone baritone, I'm also looking across the room at a couple of trebles that even Lazarus couldn't bring back. They are the reason I can maintain & restore my instruments. This is where "scrappers" become invaluable commodities. You might wonder who buys these $100-$400 vintage concertinas that are irretrievable? Those who want to practice current & experimental techniques of repair/restoration, not to mention cannibalizing for spare parts. You don't want to try refinishing a valuable antique for the first time, or reattaching crumbling veneer, or doing scroll repair. What better than to practice on an already trashed concertina. Some people will even buy a single end without bellows, just for such practice. I have 2 such boxes currently which have not only provided hard to get parts, but have also been subjected to the most inhumane of trial & error learning. I have at least 2 misc. sets of ancient old -pitch reeds that can not only be single replacements, but are also good practice for tuning, resetting the tongue, or doing things like adding mass (solder/etc) to deepen the pitch significantly.

Even the worst of "scrappers" has great value for learning fundamental skills needed by all players: replacing valves, pads, springs, properly reseating reeds in their slots, regluing mount pegs & blocks, replacing gaskets, and freeing up reeds that won't sound. We should all be able to do at least those constant-maintenance needs!

So if you see a "scrapper", no matter how funky, don't look at its $value, but at its educational value. Should you spend money to learn how to care for your instrument or spend much more & wait-time for someone else to do it?

Edited June 25 by Matthew Heumann
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