A Very Very Cool Baritone Anglo - In A Standard Size!

[Craig Wagner]

All,

 

I wanted to share with you a delightful concertina experience that I had today. But, before I do that, let me digress.

 

In addition to a standard CG, I've played a Baritone Anglo CG for about 3 years now, made by Colin Dipper. The depth of the low tones are fairly stunning to my ears, and for those familiar with Colin's work, you probably appreciate that it is an incredible instrument. My standards for the sounds of Baritone are probably fairly high.

 

With a Dipper as a standard, Frank Edgley handed me a concertina today and asked me to take it for a test drive. It was a concertina that he was ready to box up and send off to a customer. I first looked at it and it had his typical fine craftsmanship. This one had highly polished metal ends, deep amber wood sides and his standard great bellows. It was the standard CG size and weight.

 

Imagine my surprise, when I pulled my first chord, and out jumped a Baritone! Yes, a full octave below a standard CG in the size of a standard CG concertina. If you would have asked me in advance, I would have told you that I would have been skeptical about sound quality. I've had the ends off of my Dipper Baritone and there are some mighty big reed chambers. I would have thought those big chambers were needed to capture a big fat sound. But, the sound was warm, deep and buttery! I think the best chord on a CG Baritone is a G chord built on the foundation of the kick-butt low G. I pulled on that chord and out came a chord that was not a lot different from my Dipper. I was surprised in that the low accordion reeds sound a lot like the steel concertina reeds - the lower you went, the more, at least to my ears, it sounded like the reeds of my Dipper.

 

 

After playing if for a while, I noticed that it was easier to manage than my Dipper because it was a standard size and weight. Normally, playing a Baritone is a bit more labor intensive than a standard CG - the more labor intensive the faster you try to play. I also noticed that the box required a playing style very close to the style demanded by my Dipper. Basically, what I mean is that you have to coax the very lowest reeds a bit, starting with a small volume of air through the reed to get it going, and once it is vibrating, you can then get more aggressive and rip off a nice chord. So, it played like my Dipper. If anything, Frank's concertina reeds perhaps spoke a tad faster than the Dipper. And, for those of you who have played Frank's standard CG, I think you might agree that there probably isn't a faster action anywhere.

 

To my knowledge, this is the first Baritone in a standard CG size. I asked him how he did it, and basically he went back to his reed maker and had them specifically design reeds that would fit into a standard size.

 

My recommendation: A very strong instrument - and the only one on the planet that I've seen at that size. Have you seen others? I forgot to ask him what he is charging for it, but suspect it isn't much more than his standard concertinas. Am I going to sell my Dipper? No. But, its hard for me to imagine a nicer Baritone in that price range, well crafted and available in 6 months.

 

For those of you who have a bad case of concertina envy, this is a wonderful 2nd concertina. When I go to sessions, I typically bring two concertinas. My main squeeze CG and the Baritone. The Baritone offers the ability to add great depth to a session (all the whistles, fiddles, concertinas and pipes in the high range need some good balance!). Perhaps you want to try chord vamping as your next thing to try at your sessions.

 

Enjoy!

 

Craig Wagner

[Jody Kruskal]

Thanks Craig for your glowing report. Frank does it again, and hardly surprising, considering his other fine work.

 

But, I should add to your story. Last month at the Button Box, I played one of their baritone Anglos that I would also describe as small and light with quick responsive action and a buttery deep tone. I'm not sure if the Morse 30-key Céilí Anglo baritone is in production or if it was a one off job.

 

So when are we going to hear a bass G/D?

[Chris Timson]

So when are we going to hear a bass G/D?

Something I've mightily craved for a long time (being as is well known a near-terminal sufferer from COAD). I've met one once - a Dipper, as you might expect - and it was a thing of wonder and beauty. At least, I can go octaves down on my MIDI anglo, but it's not the same thing, really.

 

Chris

 

PS Speaking as a fellow Dipper baritone C/G owner: nice one, Frank!

[Ken_Coles]

To my knowledge, this is the first Baritone in a standard CG size. I asked him how he did it, and basically he went back to his reed maker and had them specifically design reeds that would fit into a standard size.

[....]

My recommendation: A very strong instrument - and the only one on the planet that I've seen at that size. Have you seen others? I forgot to ask him what he is charging for it, but suspect it isn't much more than his standard concertinas. Am I going to sell my Dipper? No. But, its hard for me to imagine a nicer Baritone in that price range, well crafted and available in 6 months.

 

Perhaps five years ago, Geuns-Wakker offered a C/G baritone with Acc. reeds. I have one of these, which I got secondhand from Bob Tedrow (the number is just over 100; I don't have it with me to check). It is standard diameter, but the end frames are a bit deeper than usual. I've noted that this model is no longer offered on the C.Connection web site listing.

 

In Fall of 2006, Rich M. told me at the Squeeze-In that they had finally gotten a modification of the C/G Morse for a baritone model that they were happy with. This is the model that appeared in their sale listing in Feb. of this year. Rich or Doug (I forget which) mentioned that it is available as a special order. A great box when I tried it last September.

 

Bob Tedrow has been making C/G baritones for some years. In Sept of 2004 I escorted one, along with some other models of his, to the NE Squeeze-In. It was octagonal, but otherwise was no larger than his other "Tedrolas." Again, a very successful model and fun to play.

 

My impression is that to be successful, a C/G baritone does need internal modifications vs. a C/G "treble," so it seems typical they are made in small runs or as custom orders/one-offs. Another note is that the low notes can be very sensitive to reed set if you want them to speak optimally - my experience, your mileage may vary.

 

Ken

[Jim Besser]

So when are we going to hear a bass G/D?

 

I second the motion.

[Chris Timson]

Another note is that the low notes can be very sensitive to reed set if you want them to speak optimally - my experience, your mileage may vary.

Very true. The worst problems occur if you change direction while holding a left-hand button down. If the set isn't just right you get a horrible graunching sound as one reed sort of stops sounding and the other sort of starts. I believe, though I stand to be corrected, that this is the main reason for single action bass English concertinas

 

Chris

[Frank Edgley]

Thanks, Craig for the great review. This has taken me quite a while to come up with, and Craig was kind enough to test drive it for me. I recorded Craig playing one of his own compositions and I will get it onto my website as soon as I can get my son to put it on for me. (Computers are not one of my skills) I wanted someone who plays a top maker's baritone concertina to play it and give me his honest critique. Last week Asher Perkins played it all night at our local Comhaltas meeting along with a fiddler, and I should have taped that as well. He played a series of jigs and reels up to speed, and the difference in pitch really sounded nice. Usually concertina and fiddle, playing at the same pitch tend to sound similar tonally, but this was really remarkable. I'm pleased that I was able to get this all into a 6 1/8 inch body. Thanks again Craig!

[Woody]

So when are we going to hear a bass G/D?

Something I've mightily craved for a long time (being as is well known a near-terminal sufferer from COAD).

You're going to need a bigger house Chris.

[JimLucas]

The worst problems occur if you change direction while holding a left-hand button down. If the set isn't just right you get a horrible graunching sound as one reed sort of stops sounding and the other sort of starts. I believe, though I stand to be corrected, that this is the main reason for single action bass English concertinas

I hadn't heard that before, and it doesn't seem to be the case with either my Æola cello bass or my Lachenal "contra" bass (down to the G below the cello). But maybe that's because the reeds are set well? The Lachenal was restored by Colin Dipper some years ago, and the Æola was touched up more recently by Steve Dickinson.

 

In fact, there can be a bit of roughness on the startup of the lowest notes of each -- especially at limited bellows pressure, -- but it doesn't seem to be greater when changing bellows direction on the same note than when simply going from note to note without changing bellows direction.

[Pete Dunk]

At least, I can go octaves down on my MIDI anglo, but it's not the same thing, really.

 

Intriguing; I keep looking at the Wakker midi English and wondering how accurately they will respond to the bellows pressure for expression. Is your anglo a Wakker Chris?

 

I quite fancy plugging a concertina controller into the Roland and selecting bandoneon which is one of it's really effective voices, it would be interesting to hear what the concertina voice is like too because it's one of the poorer patches using a keyboard or guitar controller.

[Richard Morse]

To my knowledge, this is the first Baritone in a standard CG size. I asked him how he did it, and basically he went back to his reed maker and had them specifically design reeds that would fit into a standard size.

The Button Box came out with a standard size 6 1/4" C/G baritone a couple years ago. It also has specially designed reeds, longer chambers (the lowest ones are "folded), and deeper bellows frame to accommodate it all. They are now a standard model with us - and in fact we currently have one on the shelf for sale.

 

-- Rich --

[Dana Johnson]

you get a horrible graunching sound

I will have to remember this term! by far one of the best descriptive words I've heard.

Dana

[Geoffrey Crabb]

Well done Frank.

 

 

Another note is that the low notes can be very sensitive to reed set if you want them to speak optimally - my experience, your mileage may vary.

Very true. The worst problems occur if you change direction while holding a left-hand button down. If the set isn't just right you get a horrible graunching sound as one reed sort of stops sounding and the other sort of starts. I believe, though I stand to be corrected, that this is the main reason for single action bass English concertinas

 

Chris

 

Just an observation.

 

Single action (instruments that sound only when the bellows is compressed) English Bass instruments were made for several reasons, mainly:

Cheaper and easier to make (Half the number of reeds for the range).

Lighter

Able to accommodate reeds and chambers of optimum size whilst maintaining a manageable physical size of instrument.

The ability to apply the amount of force required to generate the neccessary airflow through the substantial reeds. This also removed the problem of the thumb straps often being wrenched from the tops causing considerable damage to the latter.

 

Geoff

[d.elliott]

The worst problems occur if you change direction while holding a left-hand button down. If the set isn't just right you get a horrible graunching sound as one reed sort of stops sounding and the other sort of starts. I believe, though I stand to be corrected, that this is the main reason for single action bass English concertinas

I hadn't heard that before, and it doesn't seem to be the case with either my Æola cello bass or my Lachenal "contra" bass (down to the G below the cello). But maybe that's because the reeds are set well? The Lachenal was restored by Colin Dipper some years ago, and the Æola was touched up more recently by Steve Dickinson.

 

In fact, there can be a bit of roughness on the startup of the lowest notes of each -- especially at limited bellows pressure, -- but it doesn't seem to be greater when changing bellows direction on the same note than when simply going from note to note without changing bellows direction.

 

Jim,

 

I suspect that this is the eternal problem of getting the big valves to react quickly to prevent beating between reads on both sides of the reed pan, I am sure I can remember you saying your Bass is double acting? I don't think that there has ever been a working design for a single acting Anglo!!!!!!!

 

Dave E

[ceemonster]

i am a mary macnamara fan, and the more i listen to her cds, the more i find myself longing for a baritone anglo. i've been eyeing that morse baritone listing on the button box site, and now here is another one to fantasize about......

 

what was the volume like on the edgeley? unlike many who go for baritones i wouldn't be using one for song accompaniment, but rather for instrumental irish dance music, a la the mary mac recordings....

[m3838]

I don't think that there has ever been a working design for a single acting Anglo!!!!!!!

 

Dave E

 

I would disagree with this.

Bandoneons and Club accordions have big air valves. to make it act quickly, they are long strips of wood, hinged at the long side, so these instruments can quickly gulp lots of air. The reason for bandoneon I don't know about, but Club Accordion is fully chromatic only on the pull, so you need to be able to quickly close bellows.

Such Anglo must have very big air valve and more convinient air lever instead of air button. So you happily play on the pull, gulp, keep playing on the pull, gulp ... etc.

The design is there, just nobody made the instrument. I guess there was no demand.

And I actually don't understand why Morse Baritone, and even Trebble are squeezed in such small cabinets. What is the benefit of having no space? I guess it's the European thing.

I would also think Baritone anglo/english will benefit from rectangular shape, but it will probably hurt the sales, since people fall for the appearance more than content, it seems (not really angry, but stupiffied)

[Larry Stout]

One advantage to a small box is that the pressure in a small bellows is higher than that produced in a large bellows. Since free reeds are pressure driven that should make the reeds speak more quickly.

 

A lighter, more agile instrument is also a plus.

[JimLucas]

Jim,

 

I suspect that this is the eternal problem of getting the big valves to react quickly to prevent beating between reads on both sides of the reed pan, I am sure I can remember you saying your Bass is double acting?

Both the cello bass and the lower -- what I call "contra" bass.

 

I don't think that there has ever been a working design for a single acting Anglo!!!!!!!

I guess you'd need two of them, one for push notes and one for pull notes?

 

I've seen that principle with Andean pan pipes. The higher-pitched pipes are arranged in two rows, with front and back being similar to the push and pull of the anglo. For the low-pitched (baritone & bass? I don't know what they call them) version, each "row" is a separate instrument, so two people are needed to play all the notes.

 

I remember one concert in which the two "bass" players picked up each other's pipes. The resulting music was quite strange... until they stopped and exchanged instruments.