Stephen Chambers Posted January 24, 2007 Share Posted January 24, 2007 (edited) So...given the high overtone damping properties of mahogany. what kind of sound could we expect from this instrument? http://cgi.ebay.com/C-Jeffries-31-key-Angl...1QQcmdZViewItem Perhaps there are those who have owned or played Jeffries with mahogany action pans who might like to comment on possible sound differences from the maple/sycamore clad instruments? Greg, I've worked on lots of Jeffries, both the ones with ivory buttons/mahogany action boards and those with solid metal buttons/maple action boards. My experience would be that the ivory buttons/mahogany action board ones, such as the one in your photo, have a much drier/sweeter tone, they are also noticeably lighter in weight. But if you want that characteristic Jeffries full-blooded "honk"; get a metal buttons/maple action board one! Edited February 2, 2007 by Stephen Chambers Link to comment Share on other sites More sharing options...
Stephen Chambers Posted January 24, 2007 Share Posted January 24, 2007 Colin made me a lovely "edeophone" - sort of . . .Actually a cross between an edeo and Wheatstone's first english, with circular slit in place of fretwork. You can see it on the front page of my site: www.riggy.com Riggy, Well not quite "Wheatstone's first english", which I own and is my avatar. It has "open pallets" and no "tops" to have any design in at all! The model you describe was an inexpensive design that Wheatstone's made for a few years in the 1840s, which they called the "plain". Link to comment Share on other sites More sharing options...
Alex West Posted January 26, 2007 Share Posted January 26, 2007 Wim I appreciate what you say about incompetent repairers destroying instruments by not considering the many complications involved in repair and restoration, but surely replacing pads and valves is at least relatively harmless as the process can be reversed (albeit by the subsequent use of the correct materials by someone who has teh necessary skills). The real nightmare would be incompetent tuning wouldn't it as the removal of metal is irreversible? I don't have any superior knowledge here, you will have seen many more concertinas than I have and you clearly have a very deep understanding of what makes them perform properly, but I'm a littel confused Alex Link to comment Share on other sites More sharing options...
wim wakker Posted January 26, 2007 Share Posted January 26, 2007 Wim I appreciate what you say about incompetent repairers destroying instruments by not considering the many complications involved in repair and restoration, but surely replacing pads and valves is at least relatively harmless as the process can be reversed (albeit by the subsequent use of the correct materials by someone who has teh necessary skills). The real nightmare would be incompetent tuning wouldn't it as the removal of metal is irreversible? I don't have any superior knowledge here, you will have seen many more concertinas than I have and you clearly have a very deep understanding of what makes them perform properly, but I'm a littel confused Alex Alex: You’re right. I was referring to tuning. Wrong pads, etc. can easily be removed. I don’t mind when someone wants to restore their own instrument. In fact, I spent a couple of hours each month emailing instructions on how to replace parts and regulate the action, etc.. For some reason people seem to be more worried about the tools to use than what they are actually doing to the instrument. I've had many questions about which file to use for tuning, but never about where to file on the reed. The tools are not important. It is what you do with them that counts… Years ago, about 30 minutes before I was to give a concertina/piano recital in Michaelstein Germany (I remember Steven Chambers being there too) , I noticed that one reed was really out of tune.. I didn’t bring any tools of course... I managed to open the instrument with the metal label on my key chain, and tuned the reed with my car keys… they were the only sharp item I had on me… The only tools you need to repair a Jackie/Jack or Rochelle are a small screw driver and small paring knife.... Wim Link to comment Share on other sites More sharing options...
Tom C Posted January 27, 2007 Share Posted January 27, 2007 (edited) 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? I have not been on this forum for a few days so am late replying and I see Danny has already referred you to me. I bought my Edeophone (pictures here) on November 2006 and am still getting used to it. It had recently been restored by Andrew Norman and he rated it as a good example, and apparently it was manufactured about 1918. My other instrument is a Lachenal brass-reeded student model which is much quieter and has a softer tone altogether. The Edeophone is more strident with terrific volume - ideal for playing with other instruments, or for live performances. The bellows seem to have a very high capacity, and the action is very comfortable and quick. It is a heavy instrument compared the other concertina I own and I notice the weight after playing for half an hour or so. I think it is a beautiful instrument to look at with its 12 sides, but I am fanatical about never putting it on a table in case it rolls off. It is very obviously a "top of the range" model and I found the catalogue on concertina.com which showed it cost £17.17.6d in 1904, which works out about £5500 in todays prices. However, all concertinas have their qualities and I could see that some people would prefer a smaller or quieter instrument- I am very pleased to have the smaller Lacehenal for practicing at home, particularly when others in the house are sleeping. I recorded Barrington Hornpipe on my Edophone on YouTube . Tom Edited January 27, 2007 by Tom C Link to comment Share on other sites More sharing options...
Stephen Chambers Posted January 27, 2007 Share Posted January 27, 2007 (edited) Years ago, about 30 minutes before I was to give a concertina/piano recital in Michaelstein Germany (I remember Steven Chambers being there too) , I noticed that one reed was really out of tune.. I didn’t bring any tools of course... I managed to open the instrument with the metal label on my key chain, and tuned the reed with my car keys… they were the only sharp item I had on me… Wim, Sorry I didn't have my repair kit either. (Though I've often carried out emergency concertina repairs with my trusty Swiss Army knife!) Mind you, I did bring two extremely heavy suitcases full of early instruments with me as it was, the contents are all catalogued here. Edited February 2, 2007 by Stephen Chambers Link to comment Share on other sites More sharing options...
Robin Harrison Posted January 30, 2007 Share Posted January 30, 2007 ..............Stephen,I particularly liked the Psallmelodikon..............invented by Heath-Robinson, no doubt ? Robin Link to comment Share on other sites More sharing options...
michael stutesman Posted February 1, 2007 Author Share Posted February 1, 2007 Thankyou all for your input. I never guessed I would start a 'hot topic'. I took the plunge and ordered an edeophone from Chris Algar and she arrived today. She may be eighty years old but she's drop dead gorgeous and sings like a bird!! Link to comment Share on other sites More sharing options...
Stephen Chambers Posted February 2, 2007 Share Posted February 2, 2007 I particularly liked the Psallmelodikon..............invented by Heath-Robinson, no doubt ? Robin, I suspect it was a Martian, or somebody with at least 16 fingers and 4 thumbs! Link to comment Share on other sites More sharing options...
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