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Who Knows Anything About This Maker?


briankc
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Very interesting Rich...you seemingly share my thought about the qualities of the 'broad reeds' and their evident mellowness rather than loudness (although that may be different matters as 'mellowness' being contrary to 'roughness/brightness' and "powerful" corresponding to loudness contrary to softness...)

 

One additional question..do you also share my impression that the reed metal ( I have only few examples) seems not to be very 'hard'- ( i.e is hard to file) ? If this is true it may also mean having a lower 'spring constant' (elasticity module) which makes the reed shorter for the same frequency and this at least corresponds with the situation in my Jones English, which has got broad AND short reeds. (The width itself however does not influence on the pitch).

 

Those Anglos of yours did they vary - some having broad and some having 'normal' reeds? Were the broad ones short as well?

 

Goran Rahm

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Dear Richard (Evans),

 

I duly purchased my set of your publication, Concertina Magazine, from the "Pioneer Group" of folk music enthusiasts in Australia (specifically, from David De Santi, fine Australian concertinist/accordionist with the band Wongawilli).

Your publication was great! I cite it prolifically in my article, "Instructions Manuals .... " (see www.maccann-duet.com).

 

My only other comments (which I shared with you by phone, a couple years ago):

 

1. Price of the set that I purchased. Way UNDERpriced. Should have sold for at least double the price.

 

2. Accessibility. Should be more widely available.

 

I liked Concertina & Squeeze Box a lot, but I loved your Concertina Magazine, given my penchant for concertina history. The "Interest Instruments" sections, multilpl-part articles on concertina history, etc. Lots of material that is just as interesting as on the day your published it.

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Frank was from the "old School" of concertinists (note that title). He was a real musician and could play anything that was written down. He was also a real gentleman and a concertina enthusiast who tried to instill the love of the instrument into the receptive but muddled minds of the concertina revivalists. Thirty years on I realise what a valuable man he was!

Frank and his wife Doris were also leading lights of the ICA for many years; Frank as Secretary from 1959, and Doris as Treasurer from 1958. It's probably true to say that the ICA wouldn't be here today if it hadn't been for the amount of time that they gave towards it. I met Frank only once, but I can echo Richard's quote above and say what a "real gentleman" he was.

 

I'd also like to add support of Randy's praise of Richard Evan's fine magazine, a set of which were one of the few things that the ICA had when I started the archive. I regularly re-read them. I believe they are still available in reprint (Richard?) and a set would make a fine Christmas present for anybody trying to catch up on concertina history - and much more!

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If only there was the same for C&S too!!

 

Wes,

Since I have a complete, pristine, set, perhaps I can do something about that.

However, I need advice from the gurus as to which is the best scanner for that purpose.

Cheers,

Geo

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To all,

 

For those who don't know, George was the original publisher of C & S.

 

George, if you have the rights to all of them, PLEASE reprint them. They contain great articles by editors John Townley and Joel Cowan, superb interviews with some of the best professional players of that time, and much else that is valuable and/or amusing.

 

The interviews with David Townsend, Alistair Anderson, John Kirkpatrick, Noel Hill, Chris Droney, Joe Derrane, and Billy McComiskey (just to name a few) should be read and re-read by beginners and students. Many of their observations would rate among the best advice I received from music teachers over the years (see related thread in the "Learning and Teaching" section).

 

If everyone who wants them promises to buy them from George rather than photocopying them or sharing files, possibly that would encourage him to undertake the work and expense of making them available to all. Even though I have a set, I would buy another set for the shop to help support the project.

 

Paul Groff

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George,

 

I would very much like to purchase a complete set from you. I was thrilled to learn there was this great magazine and then devastated to realize it was no longer in print.

 

Yes yes please do this.

 

Could I help in some way?

 

Thank you so much.

 

Helen

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  • 2 weeks later...
(4) Jone made some, but relatively few, English-system instruments or metal-end Anglos, and did not like duets (but did make a "piano" model tha was somewhat duet-like.

Interesting note. The custom layout in Jones' 1884 patent Improvements in Anglo-German Concertinas has 42 buttons, of which 13 play the same note in both directions. I've been wondering why he didn't go all the way and just design a unisonoric instrument... what could have been called a "Jones duet".

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