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 on: Today at 08:34:59 AM 
Started by robotmay - Last post by Theo
I do agree Roger.  I've done tuning for people who have done their own valves and wax.  Sometimes it's fine, sometimes not.

 on: Today at 07:53:45 AM 
Started by nemethmik - Last post by Willh
Here is another example, somewhat newer (1958), from "Seifert’s Handharmonika-Musik". The system used is normal Griffschrift.

Does "normal Griffschrift" mean the Steirisches System / Holzschuh / Seifert?

 on: Today at 07:52:31 AM 
Started by robotmay - Last post by RogerT
Personally I'd prefer to do all the reed work - valving/fixing to block etc myself. It isn't rocket science but it is easy to mess it up in small ways and take longer to undo than do right the first time around. But this is a personal preference. Other fettlers may not agree.

 on: Today at 07:37:49 AM 
Started by RogerT - Last post by RogerT
Just wanted to point to this online store for music books.
It has the widest collection (for instance) of accordion / diatonic box books I've yet discovered, but is poorly served by search engines. They don't find it easily. No connection to the owners, but it's my 'go to' site for music books..

 on: Today at 04:50:45 AM 
Started by pgroff - Last post by triskel
Once I was shown pictures of a 1930s Walters soundboard with part of the alphanumeric engraving peeking out, partially obscured by that wooden grille support. I was able to convince my correspondent to remove the wooden piece and expose the full engraving, which was " M J 3"  Now, at first the name on the front of this accordion did not seem to fit my guess that the accordion's original owner had the initials "MJC" (M J, 3rd letter of the alphabet).   But - later, when that accordion's nameplate was removed, it was found to have a different original owner's name engraved directly on the casework celluloid of the box (that had been concealed under the later-installed nameplate). That earlier name had initials " M J G " or possibly " M J C " (the G resembles a C in the style used by Walters at that time). Still sort of a mystery, but possibly either the person who did the soundboard engraving or (oops) the person who engraved the front of the accordion misunderstood the intended name.

I believe I had that very instrument in my hands tonight Paul!

Was the stuck-on name Simon McArdle? If so, it's an unusually small instrument, in green, and the name originally engraved onto the casework celluloid is M.J.Creaney, or is it Greaney?

I'll post photos tomorrow.

 on: Yesterday at 11:43:09 PM 
Started by nemethmik - Last post by Sebastian
Here is another example, somewhat newer (1958), from "Seifert’s Handharmonika-Musik". The system used is normal Griffschrift.

 on: Yesterday at 09:05:00 PM 
Started by Henry Piper - Last post by Henry Piper
Offers are invited for a Hohner Viktoria club box in Bb and Eb. I recently acquired it "by Accident", I was negotiating to buy what I understood was a set of reeds for a project I had in mind, but at the last moment the seller decided to include the whole instrument !!. I am reluctant to break the it up for spares, as it is potentially a very nice box, but I simply do not have the time or expertise to undertake a restoration myself, and as I already have a Bb/Eb instrument cannot justify spending money on it simply to sell it on, Hopefully it will make an excellent project for someone.
Mechanically it is in very good condition, the pinkish purply browny celluloid is in good condition, and the bellows is sound, with the whole instrument  in virtually completely airtight condition.
The interior is clean and in good order with no signs of insect infestation or other horrors, the metal parts are clean and rust free. the front grille and fingerboard appear to have been tidied up fairly recently, and I have fitted a pair of modern press stud bellows straps as the originals where missing.
The instrument is more or less in tune with itself, although it has one broken reed and some reeds that that will very obviously need tuning, the whole thing is tuned slightly flat of modern pitch, (experts tell me its probably at A=435 Hz, and my very basic tuning meter appears to confirm this) Obviously it will need some work, it is still in original club configuration, and a new owner may wish to have it De Clubbed or otherwise modified, but if anyone is interested please P.M me.
 I realise that it will need some money spent on it, and am not selling it with the hope of making a massive profit, but Please, "sensible" offers, having regard to the build quality of these instruments and their potential !!. I can post further pictures if required

 on: Yesterday at 07:57:58 PM 
Started by Tone Dumb Greg - Last post by george garside
Both work well in the hands of players who know what they're doing, both suit their own genres of music -- but if you're playing in "English" sessions or bands (meaning, not Irish or French, but including Scottish/Welsh/Italian/etc) push-pull makes it easier to keep the bounce and avoid too much smoothing out of the tune, and also helps avoid the "faster is better" syndrome which seems to be making a bit of a reappearance recently :-(quote


The trouble with the 'faster the better' syndrome is that those partaking thereof seem to forget all about dynamics rhythm and phrasing  and just race ahead with a jumble of notes as if trying to get it over aand done with as quickly as possible!  Nothing wrong with fast playing if it is the natural speed for a particular tune and retains  aformentioned ingredients!

I -- and yes I know that some players like the excellent Benammi Swift still manage to be punchy in spite of this, but having played with him in a couple of sessions I can't help feeling that he'd be punchier still (and not so fast sometimes...) on a lighter 2-row 8-bass ;-)



 on: Yesterday at 06:17:41 PM 
Started by robotmay - Last post by robotmay
Button alignment is mostly done! It went largely smoothly, but I am having trouble with the accidental row. The levers are very short and very tough to alter, and the keys are currently being kept slightly depressed by the top keyboard plate (the top of the holes is touching the accidental row buttons). Any tips on what to do for this? I could file out the holes a bit, but that feels a bit hacky. There might be movement to move the accidental mechanism up by about 2mm, which would then perhaps mean the buttons could be altered downwards instead?

I've started shifting the reeds around too, and I think I've got one row figured out now. I can't decide whether to use plastic or leather valves, however. I do like keeping things authentic but I'm curious to see if the plastic ones make it more responsive (without annoying slapping noises). I guess I could try both and see which feels better, but I'd be interested in anyone's opinions.

I'm also not planning to tune this myself, so would it in fact make more sense to have it valved by whomever I send it to for tuning? My previous efforts went fairly well but it'd be a waste to do the whole instrument only for it not to be good enough for a decent tuning job (:)

 on: Yesterday at 05:21:46 PM 
Started by Lester - Last post by Lester
this Train is Bound for Glory

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