Its Rather Loud

[LDT]

I wondered before the nieghbours start to complain..how do you play quietly?

[PeterT]

..how do you play quietly?

Hi LDT,

 

You will not find this easy until the bellows are broken in, but use of the right thumb on the air valve, whilst playing, can control the flow of air, and, therefore, the volume.

 

It's a tricky technique to master, but my thumb always hovers on/near the air valve to ensure:

 

(1) The "correct" amount of air in the bellows.

(2) I can play louder/softer, when required.

 

As I play mainly dance music, I don't make as much use of dynamics as perhaps I would/should do if playing as a performance piece.

 

Regards,

Peter.

[LDT]

..how do you play quietly?

Hi LDT,

 

You will not find this easy until the bellows are broken in, but use of the right thumb on the air valve, whilst playing, can control the flow of air, and, therefore, the volume.

 

It's a tricky technique to master, but my thumb always hovers on/near the air valve to ensure:

 

(1) The "correct" amount of air in the bellows.

(2) I can play louder/softer, when required.

 

thank for the reply. So just to clarify does that mean holding the button down or tapping it occasionly or pushing it down halfway?

[PeterT]

So just to clarify does that mean holding the button down or tapping it occasionly or pushing it down halfway?

Generally the last two. Experience will tell you how to control the air-flow, and, to an extent, it depends on the type of music which you play.

 

For example, when I played for the Morris (loud volume generally needed), I would use the air-valve to ensure the "correct" amount of air in the bellows, but not to control volume (i.e. whilst my thumb was still on/near the valve, I was not using the valve to "lose" air whilst playing).

 

If I was playing a Slow Air, or similar, I would be trying to achieve a smoother style of playing, and a lower volume would be preferable, so would use the valve more to regulate air-flow.

 

Hope this makes some sense! Note; many Anglo players do not use this technique, but I find that it works well for me.

 

Regards,

Peter.

[tombilly]

Is this not like driving with your foot half depressing the clutch? Not good for your car...

[asdormire]

Is this not like driving with your foot half depressing the clutch? Not good for your car...

 

In this case it is no different then playing more than one button at a time.

 

Alan

[m3838]

Is this not like driving with your foot half depressing the clutch? Not good for your car...

 

My Hohner G/C has air lever always depressed. (by me)

But it has nothing to do with making reeds quieter. For quiet playing you just need very very good instrument, that's all.

Or you need to come up with "Concertina Silencer".

Luckily for you , there are such. They are called "Heavy Duty, Double Lined, Photo Processing, Dark Room bags". Available for $20 on Ebay, brand new. The only problem - the sleeves are too tight and cut circulation. But if you cut the rubber off and losen them, you'll be coasting. Another improvement to them is putting inside two rings for cross stitching. to hold the bag from collapsing.

[tombilly]

Hmm, I recall again hearing Micheal O'Raghallaigh talking about use of air button. He reckoned use of air button was more or less inversely proportional to players skill - not his exact words but to that effect. I think he said a good anglo player using all the button options hardly needed to touch the air button at all and could balance the air in the bellows by choice of appropriate buttons.

 

But, can you not just use a bit less pressure on the bellows to play a bit more softly. I met someone a while back who played a Lachenal similar to mine but you wouldn't want to be in the same room - it was that loud it was almost unpleasant. They were really working the bellows hard and pumping it out.

[Rod]

Hmm, I recall again hearing Micheal O'Raghallaigh talking about use of air button. He reckoned use of air button was more or less inversely proportional to players skill - not his exact words but to that effect. I think he said a good anglo player using all the button options hardly needed to touch the air button at all and could balance the air in the bellows by choice of appropriate buttons.

 

But, can you not just use a bit less pressure on the bellows to play a bit more softly. I met someone a while back who played a Lachenal similar to mine but you wouldn't want to be in the same room - it was that loud it was almost unpleasant. They were really working the bellows hard and pumping it out.

 

Exactly.....volume is all about bellows pressure alone.

[LDT]

Hmm, I recall again hearing Micheal O'Raghallaigh talking about use of air button. He reckoned use of air button was more or less inversely proportional to players skill - not his exact words but to that effect. I think he said a good anglo player using all the button options hardly needed to touch the air button at all and could balance the air in the bellows by choice of appropriate buttons.

 

But, can you not just use a bit less pressure on the bellows to play a bit more softly. I met someone a while back who played a Lachenal similar to mine but you wouldn't want to be in the same room - it was that loud it was almost unpleasant. They were really working the bellows hard and pumping it out.

 

Exactly.....volume is all about bellows pressure alone.

 

so are you saying to move slower or more gently for a quieter sound?

[tombilly]

More gently - the speed at which you reverse and move the bellows is dictated by the tempo at which you play the tune, more or less. Play fast and you have to move the bellows more quickly when compared to the same tune and fingering at a slower speed. But you can use less pressure - be more gentle. Or more pressure, if you want to blast people out of it.. How well this works may depend to some extent on the instrument you have and whether it's traditionally reeded or equipped with accordion type reeds.

[Rod]

More gently - the speed at which you reverse and move the bellows is dictated by the tempo at which you play the tune, more or less. Play fast and you have to move the bellows more quickly when compared to the same tune and fingering at a slower speed. But you can use less pressure - be more gentle. Or more pressure, if you want to blast people out of it.. How well this works may depend to some extent on the instrument you have and whether it's traditionally reeded or equipped with accordion type reeds.

 

LDT........Don't attempt to play standing, if that is what you are doing. For any true subtlety of tone or volume you must have the control afforded by supporting one end (the right hand end?) of the instrument on your thigh or knee.

[Hooves]

I wondered before the nieghbours start to complain..how do you play quietly?

 

 

I was surprised at how loud my first concertina was, how hard it was to get any dynamics, it was loud and harsh.

 

My current boxes (both Lachenals) are far more dynamic, softer sounding but still quite loud. I think you need to consider how loud a trumpet is, or other wind instruments.

 

I have found that I can get away practising at full volume, so long as I do it within certain hours and on certain days. I have a partially completed practice booth (which I plan to get some pics for once I'm done), but I shelved the project seeing as I can play till 10:00PM on weekdays and 11:00 PM on weekends with no complaints.

[Lakeland Fiddler]

Luckily for you , there are such. They are called "Heavy Duty, Double Lined, Photo Processing, Dark Room bags"

 

Probably easier and closer to hand, how about putting your concertina in a sweat shirt and playing it with your hands up the sleeves.

 

If it's really heavy duty muting you're after, try a duffle coat

[m3838]

Luckily for you , there are such. They are called "Heavy Duty, Double Lined, Photo Processing, Dark Room bags"

 

Probably easier and closer to hand, how about putting your concertina in a sweat shirt and playing it with your hands up the sleeves.

 

If it's really heavy duty muting you're after, try a duffle coat

You're joking, but I'm serious. A sweatshirt, been fluffy and not dence, will not provide sound insolation.

The best would be dark room bag, made of thick leather, but there aren't such. Those dencely woven cotton, double lined bags are pretty good, and they are made as though intended for the purpose.

[Lakeland Fiddler]

You're joking, but I'm serious.

 

No, I was serious about the sweatshirt, it just seem to be a good idea. I'm not familiar with darkroom bags, so I accept you opinion on that.

 

I was joking about the duffle coat though

[LDT]

well I've not managed to play quiet...but I've achived 'quieter' lol!

[Bill N]

Hmm, I recall again hearing Micheal O'Raghallaigh talking about use of air button. He reckoned use of air button was more or less inversely proportional to players skill - not his exact words but to that effect. I think he said a good anglo player using all the button options hardly needed to touch the air button at all and could balance the air in the bellows by choice of appropriate buttons.

 

Maybe this doesn't apply to concertina, but the excellent Newfoundland button accordion player I studied with last week uses his air button a lot, with the goal of keeping the bellows in a good position re: keeping arms and shoulders relaxed, etc. He particulalry worked on maanaging our air requirements so that we didn't end up with bellows hyper extended. Possibly button choice is less of an option with a 2 row accordion.