The recordings of A.L. Lloyd & Alf Edwards

[LangoLee]

I was listening earlier this evening to the first disc of 'Ten Thousand Miles Away', a reissue on Fellside of some of A.L. Lloyd's early folksong recordings from the 1950s. Many of these were of course accompanied by Alf Edwards, on what I believe was a metal-ended concertina (I think Stephen Chambers owns it?).

 

Anyway, despite the relatively primitive recording setup, I remain impressed by the sound of these. What I'm interested in is how they were done. Since the early 50s ones were mono, presumably it was one microphone with Lloyd singing into it and Edwards playing further away - he manages to make what was potentially a loud music hall instrument sound highly restrained and subtle.

 

This leads to thoughts on current amateur recording practice: what is the best way of recording an accompanied song with only one microphone, especially as a chordally-played concertina is often at risk of competing with the voice?

[Rod]

I was listening earlier this evening to the first disc of 'Ten Thousand Miles Away', a reissue on Fellside of some of A.L. Lloyd's early folksong recordings from the 1950s. Many of these were of course accompanied by Alf Edwards, on what I believe was a metal-ended concertina (I think Stephen Chambers owns it?).

 

Anyway, despite the relatively primitive recording setup, I remain impressed by the sound of these. What I'm interested in is how they were done. Since the early 50s ones were mono, presumably it was one microphone with Lloyd singing into it and Edwards playing further away - he manages to make what was potentially a loud music hall instrument sound highly restrained and subtle.

 

This leads to thoughts on current amateur recording practice: what is the best way of recording an accompanied song with only one microphone, especially as a chordally-played concertina is often at risk of competing with the voice?

 

Even if the concertina is considered to be "potentially a loud music hall intrument" it should not be impossible for it to be played in a more "restrained and subtle manner", even though it rarely is.

[LangoLee]

Even if the concertina is considered to be "potentially a loud music hall intrument" it should not be impossible for it to be played in a more "restrained and subtle manner", even though it rarely is.

 

Agree entirely. Some people say you shouldn't try to sing with a metal-ended one, but I don't see why not (it works for Anglo players).

[Stephen Chambers]

... Alf Edwards ... on what I believe was a metal-ended concertina ... manages to make what was potentially a loud music hall instrument sound highly restrained and subtle.

I can tell you that Alf's metal-ended Æola has the most amazing set of reeds; it can be played gently with great subtlety, or very loudly indeed if you put a bit of pressure on it. I've never come across another instrument that comes anywhere near it.

[Rod]

... Alf Edwards ... on what I believe was a metal-ended concertina ... manages to make what was potentially a loud music hall instrument sound highly restrained and subtle.

I can tell you that Alf's metal-ended Æola has the most amazing set of reeds; it can be played gently with great subtlety, or very loudly indeed if you put a bit of pressure on it. I've never come across another instrument that comes anywhere near it.

 

Stephen, what do you reckon is the explanation ? Rod