New Anglo Models + Other News....

[wim wakker]

We’ve expanded and reorganized our anglo models. We’ve added a G/D model (A-3) which is also available as F/C, and a 32 key model. Every model (except A-3) is available in C/G, C#/G#, and Bb/F.

We noticed that many customers request layout changes, (from the 30 anglos we will make this year about 20 of them have altered layouts). Because of this, we allow for 4 free note changes.

 

Hopefully in a few (2?) weeks we will add the english page. We just finished testing 4 models, divided in 2 groups: hexagonal 48 key treble and baritone, and: octagonal (with raised ends) 48 key treble and tenor. The characteristics of both groups are very different, (hopefully) catering to different groups of players.

 

The test instruments are not suitable for photos. The first instrument that will be finished is a 48 key hexagonal. As soon as we have a few photos, I will add the english page, and will add photos of the other models later…

 

We’re just about to take delivery of a new, state of the art, reed cutting machine. This machine is custom made for us and cuts reeds to incredible accuracy and without creating heat or stress to the steel. Together with new reed frame (shoe) vent designs, I expect even better performance of our reeds. (I’ve adjusted the vent angle and depth to the reed size, generating better air flow release and reed amplitude at lower air flow). This was possible because our frames are cut in 3D.

Finally, with the new reed cutting machine, we are able to produce faster, which means that people on our waiting lists might receive their instruments earlier than expected.

 

New models I am working on, and will be available in 2007: The first new model is going to be a Hayden duet. The design (reedpan, chambers, etc.)duet is going to be based on the octagonal english. Other new models will be a miniature english and anglo, and a 38 key anglo.

 

Wim Wakker

Concertina Connection v.o.f.

[Dirge]

Does this mean that the Hayden duet players will at last get the option to graduate to a wider range instrument? I'd better sell my spare Maccan before you render it obsolete!

[bill_mchale]

Wim,

Thats great news... and I hope you are rewarded with enough orders to keep you profitably in buisness for many years. I got to try one of your 30 buttons in the Catskills this year and only regret that I am not quite in a position to order one right at this moment.. but maybe soon.

 

BTW, the update to the webpage looks great.. I am still curious, what is different about the W-A eir, and why is it only available in Ireland?

 

Mmm, I wonder if I sold all my other concertinas if I could raise enough...

 

--

Bill

Edited September 5, 2006 by bill_mchale

[wim wakker]

Dirge: I don’t think your Maccann will ever be obsolete.. The Hayden/Wicki system just is the latest addition to the group of duet concertinas, it doesn’t replace any of the other layouts. Who knows, maybe in ten years from now, when there are plenty of Hayden instruments/players around, they might rediscover the Maccann system… I would hang on to your instrument if I were you.

 

Our plans are for 2 Hayden/Wicki models (one large, one small) based on Brian Hayden’s specifications, which he was kind enough to sent me.

The only problem I can see is to fit it into our schedule.. We believe strongly in short waiting lists. I know if I was a customer, I would not want to wait years for an instrument, but maybe I am just impatient… You can order an imperial Boesendorfer grand piano or a gola concert accordion, or even a Mercedes SL (the car, not a musical instrument…) and expect delivery within 12 months... I think long waiting lists are not a sign of quality, but more a sign of a production problem… anyway, if we can find room for a few instruments, we will add both models at the same time, if not, I think we’ll start with the smaller model.

 

Bill: Thanks for the kind words.. glad you liked the instrument. About the W-A Eir:

The model is not really a secret, it is just made exclusively for a dealer that sells our instruments in Ireland. The specifications are slightly different from the W-A1 model. It has raised ends, different reed dimensions and different hand rails. There is also a difference in the type of valves and reed setting. Actually you could say it is a W-A1 customized for Irish players….

 

Wim Wakker

Concertina Connection v.o.f.

[bill_mchale]

Bill: Thanks for the kind words.. glad you liked the instrument. About the W-A Eir:

The model is not really a secret, it is just made exclusively for a dealer that sells our instruments in Ireland. The specifications are slightly different from the W-A1 model. It has raised ends, different reed dimensions and different hand rails. There is also a difference in the type of valves and reed setting. Actually you could say it is a W-A1 customized for Irish players….

 

Wim Wakker

Concertina Connection v.o.f.

 

Yeah.. but alot of us Irish players don't live in Ireland .

 

--

Bill

[richard]

About the W-A Eir:

The model is not really a secret, it is just made exclusively for a dealer that sells our instruments in Ireland. The specifications are slightly different from the W-A1 model. It has raised ends, different reed dimensions and different hand rails. There is also a difference in the type of valves and reed setting. Actually you could say it is a W-A1 customized for Irish players….

 

Wim Wakker

 

 

Hello Wim

 

Now I am very curious.

Could you be more specific about the differences in the W-A Eir model: i.e. the valves, reed settings and hand rails.

Is it designed for people who play Irish music ,or of Irish descent, or both?

 

Might there be photos?

 

Thanks,

 

Richard

[wim wakker]

Hello Richard,

 

The eir model looks the same as the W-A1: black french polished raised ends, 30 keys, 6 fold bellows. The hand rails are of the traditional type. Compared to a ‘normal’ W-A1, there is a difference in reed curve/mass and the valves used. The result is an instrument that will not drop in pitch when played (extremely) loud.

 

It goes too far to explain the relation between reed specifics and swing cycle results in detail. If you’re interested, I started with the first article on reed behavior on our site, just an introduction. The idea is to add different articles that will deal with free reed related topics. Anyone studying a free reed instrument at any university/conservatory in the world will learn these facts in his/her freshman year.

In short, thin reeds: have a lot of secondary (reed) swing cycles (which produces harmonics) and need less air flow to start the swing cycle. Another important factor is the length of the reed. In general, longer reeds will produce stronger secondary swing cycles, especially when the reed mass is low (= thin reeds). Because of the low air flow needed, light valves are preferred. Heavy valves will interfere with the low air flow.

A negative effect is that the reed will have problems dealing with a strong air flow, which results in a obstructed swing cycle (e.g. pitch drop, softer fundamental frequency/stronger first harmonic).

On the other hand, thick (based) reeds have less small secondary swing cycles, and need a little more air flow to start the principal cycle. Because of this, it will need valves with a higher mass. Light valves will ‘snore’ with high air flows. There are other variables in concertinas that will affect reed performance, such as the vent on the bottom of the reed frame. This works as a pressure release. The moment the reed looses pressure, and the rate, will also affect the swing cycle. As I mentioned before, I am now able (3D reed frame production) to adjust this for each reed size to get the best cycle/air flow combination.

 

The trick is to find out what a player wants with his/her instrument, and the playing style. In general, most players do not use high compression. For them ‘thick’ reeds will not work. The relation between reed thickness and pitch is relative, you can make two reeds, same size/dimensions but one much thicker than the other, and still produce the same pitch. However, the playing characteristics will be different.

That is why makers tend to ask all these questions when you order a concertina. I know I can be difficult ( nag, my wife would say) when someone places an order. I want to make sure I have a clear idea of what they want.

 

Wim Wakker

Concertina Connection v.o.f.

[richard]

Wim

 

So would a Eir model concertina take less pressure or force to sound at the same volume and respond quickly for various ornaments like triplets and crans, than an a normal WA-1?

 

Or....... how would you describe the feel of playing the Eir compared to the WA-1?

 

Richard

[Guest Mick Diles]

So would a Eir model concertina take less pressure or force to sound at the same volume and respond quickly for various ornaments like triplets and crans, than an a normal WA-1?

Richard

 

When I read Wim's explanation above, it is clear to me that the Eir model needs a tiny bit more pressure than the normal W A-1.

[wim wakker]

Wim

 

So would a Eir model concertina take less pressure or force to sound at the same volume and respond quickly for various ornaments like triplets and crans, than an a normal WA-1?

 

Or....... how would you describe the feel of playing the Eir compared to the WA-1?

 

Richard

 

No, it has nothing to do with speed. Reeds with more mass require more air flow to start and maintain the swing cycle. The higher air flow which is required ( which is not just air volume but also flow strength), is provided by the reed frame vent, air slot in the reedpan and valve.

 

You can compare it to a car engine. If you drive 50mph with 2 cars, one with a small and the other with a large engine. The speed is the same, but the larger engine will consume more fuel . The same with reeds, thicker reeds need more airflow to maintain a swing cycle than thin reeds.

 

Wim