Confirm Identity Of My Lachenal English Concertina

[RWL]

The manufacturer's label is torn, but it clearly is a Lachenal. From reading many months ago I believe this to be a Tutor model. The SN is 63590, which by the date formula SN / 769 + 1850 would date the manufacture at approximately 1932. It has steel reeds.

 

Am I correct that this is this a Lachenal Tutor model manufactured in 1932?

 

Are there any general characterizations that can be made of this instrument with regard to volume of sound, quality of sound, ease of playing, or anything else that might be distinctive of this model or era of Lachenal EC?

 

My characterization after having the courage to play it for the first time at a session recently is that it's too quiet to be heard.

[Ken_Coles]

Rosewood-looking ends and five-fold bellows suggest it is not the most basic model. Many of these have steel reeds. They can vary all over the place in terms of volume, response, etc. depending on original build quality (which varied) and treatment in the 80 years since.

 

Where in central PA?

Ken, in Indiana PA near Johnstown

Edited June 6, 2014 by Ken_Coles
typo on the reeds!

[RWL]

Where in central PA?

Ken, in Indiana PA near Johnstown

 

 

Between Lewisburg & Selinsgrove

[d.elliott]

Looking at these pictures, I have an observation or two to make.

 

Firstly there were a range of concertinas in cost and quality. I tend to think of 4 groups:

 

1: plain mahogany ended, no frills, bone buttons, 4 folds usually brass reeded, some differences in wood treatment

 

2: the Rosewood ended range with some significant refinements, technically, in the fretting in reed quality, extra fold to the bellows. There were various grades & models within the range

 

3: The higher end instruments in rosewood or ebony with or without inlays in the action box corners, highly complex fretting perhaps glass buttons etc.

 

4. the super 'tinas with long scale reeds many sides, extended ranges, the best of everything

 

Yours is definitely a group 2 ; it has the significant quality indicators of: a small ogee molding machined around the action box cover; the key holes were bushed with felt; 5 fold bellows fitted; steel reeded.

 

If properly maintained and set up: and I observe and surmise: valves, button travel; reed setting and cleanliness, the action plate bushes replaced and the bellows made good, you should get a marked improvement in responsiveness and dynamic range. Basically you look to have a good workhorse of a concertina, all it needs is a bit of money spending on it and a bit of TLC.

 

Dave E

[malcolm clapp]

I concur with Dave's observations, but I have found that many of these late period 6**** Lachenals do not have terribly good reeds and the fit to the reed shoes are poor, leading to a lack of volume and a slower response than those made a little earlier.

 

Having said that, are you sure that the first digit of the number is in fact a 6 and not a 5?

[RWL]

It is hard to tell if the first digit is a 5 or a 6 depending on the angle you look at it. When I looked at it again, I do believe the first digit is a 5, making this one from 1919 rather than 1932. You can see the first digit more clearly in the photo showing the entire serial number. Does the earlier date affect the opinions of the instrument?

 

 

[malcolm clapp]

Does the earlier date affect the opinions of the instrument?

 

 

 

 

From my experience, yes, I would expect to find a far better reed quality from that earlier date.

However, you don't say whether or not the instrument has been refurbished in any way. It is possible that it has been repitched to concert A:440 and the current state of the reeds in terms of volume and response may have suffered in the process, depending upon the quality of the workmanship. Also, if the flap valves are original, then a new set might well improve the reed function.

[Wolf Molkentin]

With my personal experience being very limited I nevertheless feel like telling you that my own somewhat late Lachenal instrument (of Dave's category three, plus large scale reeds) from around 1927 was (and still is) a fantastic player right out of the box (and a very reliable instrument as well) when I bought it in 2011 from a private seller!

 

In your case, there might some work to be done (as my instrument might however benefit from new valves, bushings asf.), but you see, it all depends and can only be judged with the specimen in hands...

 

Best wishes - Wolf

Edited June 7, 2014 by blue eyed sailor

[d.elliott]

It's a '5' as an inveterate number transcriber , you tend to look for flat in the numbers, curves, and little details like curve curl finishes.look at the other '5' and then bottom of the '9' and the '3' and compare them to the first digit.

 

you have a reasonable instrument, make the most of it.

 

Dave E

[RWL]

The ability to quote is not working, so it's difficult for me to show which response I'm replying to. It was the comment regarding refurbishing. About a year or more ago I acquired David's book and subsequently replaced many curled and / or dried up valves. I also re-glued a few loose corner blocks which had allowed air leaks between chambers, and put a few patches on several of the bellows points where I could feel air leaks. I checked and it's not in current concert pitch - all are about 15 cents sharp. Now that I'm finally able to play some tunes, I'm considering going to the Squeeze In in Massachusetts in September. The players in the Washington DC area are trying to schedule a summer squeeze in at someone's home, but so far no good date has appeared.

 

It's peripheral to my original question, but if I replaced the pads and bushings (which I assume are original because I haven't opened that part to look at them), what effect would that have on the instrument?

[d.elliott]

15 cents sharp is unacceptable if you are going to play alongside others, that is a big issue.

 

Pads can help air efficiency, but generally the pads and the end plate bushes are about smoothness of control, and avoiding percussiveness.

 

If you are confident in the valves, then after the tuning, look to your bellows, from the pictures you have posed on your companion thread a re-binding may well be required. Back to valves; if you change more than one or two valves, you should really change all of them- both ends of the instrument. Certainly do not change a single valve on a note, there are two valves, one in the chamber and one on the flat side of the reedpan, treat them as a pair.

 

Dave E

[RWL]

It's been a year since I replaced the valves so I don't know which ones I replaced. The instrument had been stored in its upright position by its previous owner(s) so a lot of the valves were bent from gravity. I didn't know to replace them as pairs at the time; did I miss that suggestion in your book? I only replaced the ones that were gravity bent along with a few others that had become slightly longitudinally cupped over time. The notes I've been playing are not difficult to make sound, but I haven't recently tried each button in both directions to see if there are some notes that don't work as well. I did have one that didn't sound in one direction recently, but with playing it must have blown out a speck of dirt because I haven't had the problem since that one episode.