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Edeophone Players


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I don't think it's possible to generalise - at least to the point of helping you choose between the handful of concertinas that you're probably planning on choosing between. There's probably a lot of variation in the sound of different edeophones, and definitely a lot of variation in the sound of different Wheatstone Aeolas. I've only come across one or two of the latter that are even close to being like mine (which I like), and some that I really dislike.

 

So - if you find a recording/borrow a Wheatstone/edeophone that you like/dislike I wouldn't use that experience to decide whether to buy (unheard) another.

 

For what it's worth - I borrowed an edeophone many years ago for a few months - it was quite nice, but I wouldn't describe it as sounding clarinet-like. Some Wheatstones I've played would lean more towards that description (smooth + mellow + woody/interesting).

 

There are some clarinet concertinas around - fishtail reeds and little (tuned?) boxes around the reeds. They really do sound quite clarinet-like - though not as much as a real clarinet!

 

Perhaps you saw this recording/video. If you're interested in a higher quality recording perhaps Tom can help (though a recording could only tell you about the difference between two (or more) individual instruments if they were recorded in the same session!!).

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Michael,

Sara Graves has a very nice album of music played on an Aeola and Edeophone. She was nice enough to respond to an inquiry and list which instrument she used on each track. I will try and get that information.

 

My limited experience with Aeolas (mine, that reminds me of the Martyn Bradley sound on "Time Can't Stand Still") and two treble and a t/t Edeophone is that the Edeophone has a sweeter, juicier sound. I'd characterize the general "Wheatstone" sound as drier with more cut. (It is time to get out the book of wine tasting adjetives!)

 

But as Danny has pointed out. there is so much individual variation among models and individual concertinas that you practically need specific instruments to make valid comparisons.

 

If you are in a geographic position to make a pilgrimage to Chris Algar's (Barleycorn Concertinas) garden shed it might well be worth it. A friend was able to visit Chris and spent several hours comparing a number of Aeolas and Edeophones. My friend's wife was with him. In the end she had a lot of input: "Take that Edeophone, dear. The octagonal ones are too loud!"

 

Individual wife experiences may vary.

 

Good luck!

 

Greg

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If you are in a geographic position to make a pilgrimage to Chris Algar's (Barleycorn Concertinas) garden shed it might well be worth it.

 

Greg

 

Also keep in mind the acoustics of the playing situation. The apparent sound characteristics of each instrument may change between playing in, say, a garden shed and a roof loft conversion!

 

MC

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If you are in a geographic position to make a pilgrimage to Chris Algar's (Barleycorn Concertinas) garden shed it might well be worth it.

 

Greg

 

Also keep in mind the acoustics of the playing situation. The apparent sound characteristics of each instrument may change between playing in, say, a garden shed and a roof loft conversion!

 

MC

 

And the acoustics of Chris Algar's shed/garage are definately odd - maybe it's the wall of concertinas! I think Chris will let you take out a couple to try at home for a few days trial before you make the final decision, and I'd really recommend that if it's at all possible.

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If you do select an edeophone, then like all Lachenals, remember that the action is a 'hook and appeture' type, not riveted. Have the action checked for wear by a competent person. Often those arms which are bent to go round other buttons wear on their sides, where they pass through the pivot post. This causes the whole arm to twist axially.

 

The net result is an odd pad action; buttons seeming to sit lower and lower, and an odd feel to the button action. This situation is repairable, but it is messy. Edeophones seem to be more prone to this than other lachenals.

 

Dave

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I am contemplating purchasing an Edeophone and would appreciate any comments from members who own one. I've heard the tone quality described as 'more like a clarinet' than a Wheatstone. That sounds very appealing to me. Does anyone know of a good recording of an edeophone?

Michael, as Greg Jowaisas has mentioned to you, Sarah Graves has written of her use of both the Edeophone and the Aeola on her Black Boxes Album. Here is Sarah Graves' note, in part (and reprinted here with her kind permission, I hasten to add.)

 

Quote-

"In general, I like to use the edeophone for most songs and for anything I feel would benefit from a marginally sweeter tone. The Wheatstone is very much my 'band' concertina, being a bit more robust and with a slightly harder tone. However, as they are both ebony ended, neither has a particularly hard edge and I do prefer that sort of sound!

OK, here goes.

Wheatstone is used on tracks 1a, 2, 3, 5, 8, 11, 16

Edeophone on tracks 1b, 4, 6, 7, 9, 10, 12, 14, 15

Notes for track 13, which was recorded last, are missing and I'm really not sure, sorry.

Also, where tinas have been double tracked I tended to use the other box to the main one recorded."

-End quote

 

By the way, Sarah is quick to point out that achieving a consistant tone in the studio is very difficult. I think that goes hand in hand with what others have said -- that it's not just what instrument you play but where you play it and how you play it. Hope this helps, and much thanks again to Sarah Graves. Mike

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My partner Anne played Edeophone for many years, but changed to an Aeola not out of major preference for Aeolas, but the Edeo had 56 buttons and she wanted a 48 button box. She'd have been happy with either, otherwise.

 

Colin Dipper has said to me on a couple of occasions that as a concertina maker and repairer he thinks more highly of Edeophones than he does of Aeolas. Make of that what you will. It's certainly a useful counterbalance to the Aeola snobbery you occasionally hear.

 

Chris

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Colin Dipper has said to me on a couple of occasions that as a concertina maker and repairer he thinks more highly of Edeophones than he does of Aeolas. Make of that what you will. It's certainly a useful counterbalance to the Aeola snobbery you occasionally hear.

 

Chris

 

As you are more likely to see Colin again before I do, Chris, perhaps you could ask him why, that as a concertina maker and repairer, he thinks more highly of Edeophones than Aeolas and post his reply. It would be interesting to know.

 

Chris

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The best thing I can say is that my edeophone suits me. It has wooden ends and a soft mellow tone. After a major accident some years ago, it now has 7-fold Dipper bellows, and one end substantially rebuilt by the Dippers. It is not a loud instrument and can get lost if played in a large session, and I think it is not best suited to that type of use. I have another metal ended instrument for that purpose and for playing in a group outside.

 

If you are planning to buy an edeophone, the best advice, which is often stated in these forums, is try before you buy - listen to and play the instrument. Let your ears tell you what to do.

 

- John Wild

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As you are more likely to see Colin again before I do, Chris, perhaps you could ask him why, that as a concertina maker and repairer, he thinks more highly of Edeophones than Aeolas and post his reply. It would be interesting to know.

Hi Chris,

 

It's interesting to compare the "flagship model" from both Lachenal and Wheatstone. Over the years, I've owned two Lachenal 56 key "extended treble" instruments, and currently have a Wheatstone 48 key treble. In my opinion, the tonal quality of the Lachenal is superior, sounding mellow throughout the instrument. With the Wheatstone, the top part of the range is less mellow. However, the action of the Wheatstone I have found to be much more responsive.

 

It will be interesting to hear the opinions, and experience, of others, especially the more proficient players, and, indeed, Colin.

 

Regards,

Peter.

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The best thing I can say is that my edeophone suits me. It has wooden ends and a soft mellow tone. After a major accident some years ago, it now has 7-fold Dipper bellows, and one end substantially rebuilt by the Dippers. It is not a loud instrument and can get lost if played in a large session, and I think it is not best suited to that type of use. I have another metal ended instrument for that purpose and for playing in a group outside.

 

If you are planning to buy an edeophone, the best advice, which is often stated in these forums, is try before you buy - listen to and play the instrument. Let your ears tell you what to do.

 

- John Wild

 

 

A friend has a lovely metal ended edeophone (which I lust after!) and it can be loud if required, so the ends seem to make a difference. It also has a very distinctive tone and tends to stand out in a bunch of us playing.

 

Chris

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I believe Wim Wakker of the Concertina Connection also has a high opinion of the Edeophone.

 

I'll drop him a line and ask him to comment.

 

Btw I have a tenor treble Edeo that was fitted with the Concertina Connection's replacement action.

Plays like a dream!! And the sound is qualitatively different than my Wheatstone's. I didn't say "better" just different.

 

Greg

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I believe Wim Wakker of the Concertina Connection also has a high opinion of the Edeophone.

 

I'll drop him a line and ask him to comment.

 

Btw I have a tenor treble Edeo that was fitted with the Concertina Connection's replacement action.

Plays like a dream!! And the sound is qualitatively different than my Wheatstone's. I didn't say "better" just different.

 

Greg

 

This is a reply I received from Wim while shopping for a tenor/treble.

 

Hello William,

 

The edeophone was Lachenal's top model. It is 12 sided and has, just like

the aeola, long scale reeds. We've restored many top wheatstones and

lachenals over the years. I've seen many good wheatstones, but very, very

rarely an exceptionally fine instrument. The quality of edeophones ranges

from very bad to (almost) perfect. the best instruments I've ever seen

(reed quality/equilibrium, etc.) have always been edeo's. Over the years I

have replaced all my aeolas in my personal collection with edeophones. I

used an 48 key edeo for the recording of the concerto for concertina and

orchestra (see the music/cd section). I also used an edeo for the premiere

in New York a few years ago.

 

Regards,

Wim

Concertina Connection v.o.f.

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This is a reply I received from Wim while shopping for a tenor/treble.

 

Hello William,

 

The edeophone was Lachenal's top model. It is 12 sided and has, just like

the aeola, long scale reeds. We've restored many top wheatstones and

lachenals over the years. I've seen many good wheatstones, but very, very

rarely an exceptionally fine instrument. The quality of edeophones ranges

from very bad to (almost) perfect. the best instruments I've ever seen

(reed quality/equilibrium, etc.) have always been edeo's. Over the years I

have replaced all my aeolas in my personal collection with edeophones. I

used an 48 key edeo for the recording of the concerto for concertina and

orchestra (see the music/cd section). I also used an edeo for the premiere

in New York a few years ago.

 

Regards,

Wim

Concertina Connection v.o.f.

 

Wow! That is a stronger recommendation than I remember. Thanx, Bill.

 

We need to have some Aeola proponants wade in and start singing the praises of their instruments.

 

Greg

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