Question About Hybrid Vs Traditional

[wim wakker]

The term hybrid refers to the fact that the reeds are originally developed for a different type of hand driven free reed instrument (accordion), with completely different specifications and tonal objectives.

 

I notice that the makers of these hybrid concertinas find the word condescending for some reason, and refer to all kinds of facts that are supposed to prove that these instruments are not of lesser quality than instruments with ‘real’ concertina reeds..

 

As the only maker of instruments with both traditional hand made ‘real’ concertina reeds and instruments with accordion type reeds (outsourced), I have no problem with the term hybrid, because it describes exactly what it is: a concertina with non concertina type reeds. It does not say anything about speed, sound quality, etc.

 

In order to understand why these reeds are not the same as traditional concertina reeds, you need to have a basic understanding of the different type of free reeds used in bellows driven musical instruments. When comparing traditional concertina reeds with accordion type reeds, every aspect of the reeds, such as the design and construction of the reed and frame, reed swing cycle objective and dynamics, reed resistance, - curve and –spectrum, air flow dynamics, harmonic objective and chamber interference is different. It is like comparing a gasoline engine with a diesel engine. It has nothing to do with reed quality. The best quality accordion reeds have nothing in common with a concertina reed.

 

In fact, from a technical point of view, most accordion type reeds (including the ones we use in the Rochelle and Jackie concertinas) are of a higher quality than many vintage concertina reeds, simply because the tools and techniques available today produce better fitting reeds with more consistent steel quality.

 

A concertina is more than a hexagonal box with buttons and reeds… it is a specific way free reeds are activated by manipulation of a long air column in combination with a short activation of a metal free reed, of which the harmonics are determined by reed shape, reed curve and frame slot. The closest relative is the harmonium, which uses partly the same principle.

 

Accordions have steel reeds (ca. 48R hardness), activated by a short high, non specified air flow, without column modification, with a long slot activation. Harmonics are determined by reed curve only.

 

The term hybrid concertina describes the instrument perfectly: shape, lay out, etc. of a traditional concertina, but without the concertina reeds and reed technique.

I personally see it as a positive thing.. the hybrid concertina has allowed more people to play and enjoy the instrument than ever before. Another positive side effect is that hybrid concertinas play very well. The reason is that it is almost impossible to prevent an accordion reed from performing well. They play in any setting, unlike traditional concertina reeds which are much more finicky and temperamental.

 

Wim Wakker

Concertina Connection v.o.f.

[wntrmute]

Chemnitzers, Bandoneóns and a huge number of German made Anglos traditionally have had completely different reeds of the long plate form, if what I've read online is correct. Part of what turned the German concertina into the Anglo-German was that the English put concertina reeds into the Anglo. But they also did much more -- they re-worked all of the mechanisms, the shape, and I suspect also the bellows (is there any English concertina with bellows frames?) so that they were of 'typical' English concertina construction. Anyways, the point is that the reeds had changed before*, which sort of begs the question as to what 'tradition' would actually be. So that is a point for those who don't like the term 'hybrid.'

On the other hand, just what should these instruments be called? 'Accordian reeded but otherwise constructed in the traditional Anglo-German method' is a bit of a complicated mouthful -- hybrid is much simpler and most people pretty much understand what is meant. I guess we could call them all 'Joe,' but that is a bit obscure. No, actually it's exceptionally obscure, because I just completely made it up. But the term 'Joe' means nothing, which is what my point would be -- sure, Hybrid isn't a perfect term but what other useful term is there?

 

Anyways, as has been pointed out, Wikipedia is supposed to be a broad overview kind of thing. 'Hybrid' has a place there, I think, but with the descriptor that the term is not universal, that typically they are high quality instruments only with different reeds -- and with the fact having been established that concertinas have had different reeds from one another (depending on where they were built, mostly) from day 1. Or from day whatever 20 or so years would be.

 

*Except that they didn't, actually, because here we run into the whole issue of the apparent German and English co-evolution of the Concertina. And, of course, we also run into the problem that the term Anglo has been applied for about a century to even those concertinas that don't have any features of the Anglo-German besides the outer shape and the basic layout of the buttons.

[Mark Evans]

I personally see it as a positive thing.. the hybrid concertina has allowed more people to play and enjoy the instrument than ever before. Another positive side effect is that hybrid concertinas play very well. The reason is that it is almost impossible to prevent an accordion reed from performing well. They play in any setting, unlike traditional concertina reeds which are much more finicky and temperamental.

 

This I can attest to this with my experience. I loved my 1921 Wheatstone Aeola, lovingly rebuilt by Crabb in the 70's just before she came into my hands. Fantastic instrument...but I was always having to free up the reeds that seemingly out of the blue would refuse to speak, or speaking make a wonky noise. It was not fun to be pulling out the tool kit to open her up, locate and pull out the offending reed to remove some microscopic something just before a gig. It messed up my focus and there I would be playing catch-up. Thank you to whoever marked the pitches on the reed pan of that 64 noter .

 

My Morse (like the old Timex watch add) "takes a licking and keeps on ticking." If it's a hybrid, then so be it. Pull it out of the case and crank her up every time, in tune, very comely tone, a pleasure to look at and a dream to play.

[wim wakker]

Anyone who has completed the free reed history introduction courses at freshman level can tell you the different types of construction/techniques used in these aerophone families. It is not complicated…

 

First of all, the term hybrid has been used in free reed instruments construction since the early 20th century. It is not something made up recently. The term is used when 2 different free reed family groups are combined, which was quite common in those days.

Producers would make anything they could sell using the techniques and knowledge they had available at the time. They were always trying to expand their market.

 

During the first 70 years of the european free reed ‘story’, the different reed technologies were geographically determined. For example, the German makers used a different technique than makers in Italy, Russia or France etc.. We generally refer to these techniques by the names of the instruments they produced: Harmonikabau (bandonions, etc.)– Germany, accordion technique- Italian, harmonium technique -France, and the english concertina technique. There is a distinct difference between these techniques. Hybrid instruments come into existence when makers using one free reed technique produce instruments normally using a different technique. For instance, concertinas with accordion reeds, Bandonions with accordion reeds, harmonicas with accordion reeds, accordions with concertina reeds (Lachenal) etc.….

 

The german Konzertinas produced for the GB market were actually German accordions made according to the german ‘Harmonikabau’ technique, using zinc plates etc. ‘wrapped’ in a hexagonal box (to imitate the english concertina). The reason for this was pure economical. The instrument was aimed at the english working class who could not afford a real english concertina….a perfect example of German marketing.

 

So, when referring to the ‘concertina principle or technique’, or the german word ‘Harmonikabau’, we’re referring to a certain free reed technique. No one cares if there are buttons on the outside or frames in the bellows. To use the engine example one more time, when comparing diesel with gasoline engines, no one cares if the car is a truck or sports sedan….

 

Wim Wakker

Concertina Connection v.o.f.

[Richard Morse]

I believe that one North American maker is / was looking into that way [more than one reed per frame] of construction for his as-yet-be released duet. He calls it a concertina.

Yes, and that's me, and I do.

Is it because the reed tongues are riveted instead of held down by small screwed-down bars?...It's not necessarily tone... not even quality of workmanship...

I believe that those properties and more are not definitive of a concertina - or even of the type of *reed* in a squeezebox... it's the inherent *design* of a reed which is key (well, reed assembly is probably more accurate, which includes the plate/vent). Chambers, mounting, airflow, bellows... sure are appreciable, but ideally to augment the properties of the reeds.

 

As I've been working though our design I've found myself focusing more and more on the essence of concertina reed design, isolating that from the externals (like the screws and clamp bar, single plate, chamber shapes/juxtapositions, etc.) which has lead me toward some fairly novel... constructs? Probably wouldn't be appreciable (noticeable) to most people (though I'm sure Wim would pick up on a number of them with just a glance) as the guts and all still look very similar to a traditional concertina.... But for all intensive purposes they should look, play, sound, feel, and respond as a vintage concertinas. Why am I doing this and not following "traditional" methods exclusively? In parts because it will allow us to produce these types of concertinas more efficiently (meaning they'll be less expensive for people to buy), because it will make them less finicky (no heat/humidity reed-fit-in-pan issues), because it makes for more efficient reed-packaging (more reeds/notes/keys for the size of the instrument), because it will make them lighter (without compromising sound/response), and... because doing so is interesting and a challenge.

 

-- Rich

[Chris Timson]

Why am I doing this and not following "traditional" methods exclusively? ...

And, I submit, because although traditional methods sometimes resulted in beautiful concertinas it doesn't mean that traditional methods are the only way to build a beautiful concertina, or a good reed. After all, the Dippers on their letterhead describe themselves as Designers, Innovators, Manufacturers and Exporters.

 

The hybrid concertina is an innovation, and in the hands of makers like Frank and Rich a very successful one. I think it is a useful term to describe concertinas made with accordion reeds (a lot shorter than "concertinas made with accordion reeds" anyway). I see no reason to be upset or resentful of the term, or in any way to regard it as derogatory.

 

Chris

 

PS I still prefer the sound of the traditional reeded concertina, but in so saying I am making no comment at all on responsiveness or workmanship or anything else. Just the sound.

Edited October 28, 2007 by Chris Timson