A New Crabb Anglo

[Robin Harrison]

I’d like to report briefly on the latest concertina to come from the work-shop of Geoff Crabb.(www.concertina.net/rd_crabb.html[/url])

I saw reviewed on C.net an octagonal anglo and asked Geoff if it would be possible for him to build one for me in an F/C tuning. Given that the anglo is such a good instrument for song accompaniment and the keys F and C place many songs in the baritone range, I often wonder it is not more common tuning.

What a thrill taking the instrument out of the case (also beautifully made by Geoff).It is lovely to look at and is superbly made. The quality of construction places him alongside Dipper and Dickinson. He continues the family tradition of fine concertinas.

It is an octagonal, 30 key anglo, keyed in F and C., 8 fold bellows, metal buttons and hand made stainless steel end plates. The photos I’ve used were taken by the maker.

It is a lovely concertina to play and is well balanced across the scales. Low reeds can sound very “mushy” when you play two or more but the bass reeds here seem to stand out more individually. It is very hard to describe the sound (and is of course completely subjective), but it is an intriguing sound. Geoff described it to me as very Crabby!! I now know what he means. I had the opportunity last week of comparing it to a Dipper, a Carroll, a Jeffries and a excellent 32 button Rosewood Lachenal. Given that the reeds are brand new and need much more playing to settle in, not only did it hold it’s own in such proud company, it seems to have a totally distinctive sound. I guess Crabb-like would be the description! I’ve met and heard of players who prize Crabbs above all others and I well understand why.

It is made along traditional lines but with some innovations, my favourite being the use of an air release lever (wind key) rather than a button. I’ve never yet owned an anglo where I haven’t had to lengthen the air release button so I don’t have to crank my thumb awkwardly in a sideways manner. The lever allows you to move your thumb in

a natural direction. Not only do you not have to “get used to it” but you ask yourself why this is not prevalent.

The end boxes are plastic (Cobex ) covered. This is indistinguishable from French polished wood and is more durable and easy to maintain.

The reed frames are hand made and to quote Roger Digby ‘s review of a 2004 made Crabb anglo.(http://www.concertina.net/rd_new_crabb.html)

 

• Reeds/notes:- Hand fitted and profiled steel tongues, blocked and screwed onto re-shaped hand cut OHard¹ aluminium frames, traditionally retained in short parallel pan reed chambers.

• Reed pans orientated, lever holes in keys and pivot points in uprights positioned to relieve former 'short lever' problems.

• Each pan comprised of two opposing grain solid wood sections centre joined to reduce possibility of future warpage.

See attached photos.

Finally, the 8 fold bellows. I believe that Rosalie Dipper far and away makes the best anglo bellows currently available, being supple yet provide the needed firmness for strong playing. Geoff’s bellows are their equal. They are in themselves works of art.

To say I am happy with this anglo is understatement………….it is now part of my daily life. It was also a pleasure to deal with Geoff. His knowledge of concertinas and their construction is profound. I am hoping he will answer any question you may have concerning construction, etc.

Robin

[Robin Harrison]

..................more pics

[Paul Read]

I was recently in the UK on a 'home visit'. As part of the visit I went down to visit Geoff and collect this concertina for Robin. I have to say it was one of the highlights of my trip back (along with a visit with Dave Prebble). In addition to getting to play Robin's new baby, I Geoff also showed me a number of the instruments he has made. I tried to sneak out the 30-button C/G but he found it in my bag

 

I have to agree with Robin that the quality of Geoff's instruments is right up there with the best. That F/C is going to be a lovely singing accompaniment instrument. The lever air button and drone seemd a little odd at first but I found I soon found myself preferring it to the usual press-button arrangement.

 

In addition to letting me try out the instruments, Geoff spent much time showing me his workshop and discussing procedures and Crabb history with me. All in all, apart from the puncture I got on the way, it was a day very well spent. Many thanks to Geoff and Mrs C who found it impossible to get Geoff out of the workshop for his dinner!

[Geoffrey Crabb]

• Reed pans orientated, lever holes in keys and pivot points in uprights positioned to relieve former 'short lever' problems.

 

Robin

 

Just one amendment to the the quote (with Robins permission), the pans in this instrument are not orientated. Due to a larger size, 7.25 inches across the flats to accommodate the larger reeds and chambers, there is no short lever problem and the pans are fitted traditionally.

 

At Robins request I submit some more internal pictures.

 

Left pan - lower.

 

Left pan - upper

 

Right pan - lower

 

Right pan - upper

 

Left Action

 

Right Action

 

Geoff

[Chris Allert]

a new dipper and a new crabb???

 

it's just not fair...

 

i'm curious though, did you try just tuning the crabb concertina as well?

[Frank Edgley]

Beautiful work!

[devinomatic]

Aesthetically, that's gotta be the most appealing box I've seen so far. Good luck keeping the fingerprints off of it though.

[Dan Worrall]

..................more pics

Robin, and of course Geoff,

 

It is GORGEOUS...thanks for sharing the pictures. Just curious, how wide is it? The internal layout looks very well ordered and spacious, not so cluttered as in say a Jeffries.

 

The grills are works of art.

 

Dan

[Geoffrey Crabb]

Thanks Frank.

 

devinomatic,

the tops are polished stainless steel so they are quite easy to clean and of course resist acid attack.

 

Dan,

The size is 7.25 inches across the flats, one inch bigger than a standard hex size. By careful planning and consideration of reed and chamber size required to meet the criteria required for this instrument, the action can be comfortably accommodated.

 

The fretwork (grills) are hand-pierced, I am afraid that I have never gained proficiecy in using motorised saws.

Here are some pictures of my method. Piecing blade used in Fretsaw frame

 

The set up

 

Closer view

 

The pattern being worked in the above pics, the right end of a 48 key Treble Eng (Crabb Pattern).

 

PS. The white coat was for the picture.

 

Geoff

Edited February 23, 2007 by Geoffrey Crabb

[DerekR]

Drooling here.....

 

Beautiful. The work of a master craftsman.

[m3838]

You can't be doing it by hand. It's against the law!

Where is Union, when we need them?

[Leo]

You can't be doing it by hand. It's against the law!

Where is Union, when we need them?

The craft guilds are against machines. They take our work away.

I could only wish my skills with tools were as good.

 

Thanks

Leo

[Henrik Müller]

...

devinomatic,

the tops are polished stainless steel so they are quite easy to clean and of course resist acid attack.

...

It is beautiful so see! It must be nice to have that extra space inside - lots of room for everything.

 

But am I the only one on the planet who is curious about the bevel, the raised ends?

With softer metals I can imagine some sort of side-after-side repeated process, until

the bevel is right. But with stainless steel? I can only envision tool & die and large

presses. But then again - a bigger-than-normal instrument - what dark secret lurks here?

 

/Henrik

[hjcjones]

I am intrigued by Geoff's use of an air-lever instead of the conventional button.

 

I've never found any problems with a button, either in reaching it or with the sideways movement required. However this does seem to be a problem for some players, at least it regularly crops up on here.

 

I don't have particularly large hands (for a man), but I can see that for someone with small hands it might be a problem. Also, I play "English" style and support the right end of the instrument, using the left to "drive" the bellows - Irish-style players seem to prefer the reverse, and this might make it harder to use the air-button.

 

Also, I've always played vintage instruments, where the button appears to be well-placed. Some of the modern instruments, particularly the cheaper beginners instruments (the Stagi especially) aren't as well designed. Of course, this isn't a problem with Geoff's instruments.

 

I can see that the motion to operate a lever is more natural, and as a melodeon player it is one I'm quite used to, albeit with the other hand. What makes me slightly doubtful is that he up-and-down thumb movement required to operate the lever is almost the same as the movement I make to control the tension of the hand strap, whereas the sideways movement on the button doesn't affect the tension.

 

However, I've only briefly handled one of Geoff's instruments so I can't really judge, and the lever certainly seems to get a good response from people who've tried it.

[Paul Read]

I am intrigued by Geoff's use of an air-lever instead of the conventional button.

 

I found that you don't have to change how you use your thumb. If you press it like a button you still get the response and the movement is not so much that it doesn't stay under control. After a little while it becomes a much more comfortable and sensitive control (to me)

[ben]

Robin, Paul or Geoff,

 

What is the price range for a modern Crabb Anglo (I usually prefer 40 button ones)? What is the current waiting time for a Crabb concertina?

 

Robin, you better keep your concertina in a vault!!! I don't live too far from Brantfort. Congratulations on your fine instrument.

[Dave Prebble]

I can see that the motion to operate a lever is more natural, and as a melodeon player it is one I'm quite used to, albeit with the other hand. What makes me slightly doubtful is that he up-and-down thumb movement required to operate the lever is almost the same as the movement I make to control the tension of the hand strap, whereas the sideways movement on the button doesn't affect the tension.

 

 

Hi Howard,

 

Though all of my instruments have standard buttons I have often been called on to fit extended air buttons to anglos - that extra 1/8" makes all the difference for many people.

 

I wonder if the problem is folks having the handstrap set too tight, thus clamping the thumb down to the rail? I very often have trouble with other folks instruments usually, I suspect, because the handstrap won't adjust to a large enough size to both accommodate my hands and my preference for the half a yard of slack

 

I have tried a couple of Geoff's instruments and it takes about 2 minutes to get used to the lever action. In all I think I prefer it to the standard push button.

 

Regards

 

Dave

[Mark Davies]

I am the proud owner of the 40 key C/G eight sided anglo that Geoff made for me last year(or it could have been the year before?)and I have now got used to using the air lever as opposed to an air button.You have to get into the habit of resting your thumb on the actual thumb rest rather than on the lever because the lever is very sensitive.With a air button you can rest your thumb on the button and give it a squeeze to the left when you want some air.Its a very fine instrument and I have been playing it in the last few minutes.

 

If anyone wants to talk to Geoff about concertina's and concert making he will be making guest appearances at the Bradfield Traditional Music Weekend and accompanying Neil Wayne,Bill Crossland and myself to Eigse Mrs Crotty,both events being in August.