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Author Topic: Reasons to either buy / not buy and expencive melodeon.  (Read 15800 times)

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nemethmik

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #20 on: February 25, 2011, 02:42:56 PM »

a heavily used second hand Giovanni Parigi C/G+Acc (made by Bompezzo)
I've been recently at a G/C melodeon workshop in Austria and I tried nearly all melodeons, and eventually I found the a perfect one: Michael's heavily used melodeon.
"We have been searching for the best sounding/playing accordion, and when we found one, it turns out that it is already someone else's"
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Thrupenny Bit

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #21 on: February 25, 2011, 03:19:56 PM »

GbH: Yes I ended up having to bite the bullet, but some times it's a good option. It got me into the mind set of ' right, having paid for this I *must* give this a good crack of the whip...'

N.S.A. and LdT: Erm.... isn't personal taste interesting?
I remember muttering years ago about Pokerworks after seeing for the first time a Castagnari or similar, made in wood. It was mutterings something along the lines of ' if I had to play one of those 'orrible f^&*ing things it would have to be a real one'....with a nod towards the wooden types. It holds true for me now.
We looked at the Tommy and the only thing close was a red 'Black Pearl II'. The wood of the Castagnari sold it to me!
Perhaps me and bling simply don't get on, being somewhat shy retiring, understated type of person....  ::)
Q
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Theo

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #22 on: February 25, 2011, 03:32:36 PM »

I fell into the wooden trap early on.  I had. Perfectly good black Erica,  but foolisly traded it for a Dino Baffeti Carnival,  it was horrible despite the natural wood finish.
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Theo Gibb - Gateshead UK

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Martin J

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #23 on: February 25, 2011, 03:43:59 PM »

Without making a very long list 3d, I have a whole mix of wood, perloid and bling.  Each one bought because they sound good.  I'd be very hard pressed to say one was better than another, different yes, but then there are from different manufacturer's.  Aesthetics; I generally prefer wood but some days I just want bling and shouty.

Sometimes my stage shirts are even louder than my boxes  ;D
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ladydetemps

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #24 on: February 25, 2011, 03:45:34 PM »

Aesthetics; I generally prefer wood but some days I just want bling and shouty.

Sometimes my stage shirts are even louder than my boxes  ;D
I think its important to have a box that works with your wardrobe. ;)

Martin J

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #25 on: February 25, 2011, 03:47:15 PM »

Wardrobes give a very bass sound  ;D
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Andy Simpson

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #26 on: February 25, 2011, 03:56:51 PM »

I used to have a Jorgina that worked with my wardrobe...when I ran out of space in the wardrobe I stored the rest of my clothes in it's cavernous interior...

Lovely sounding and really well made box with bags of character but it was an unwieldy beast. I played a Handry 18 not long after I bought it and it wasn't much bigger or heavier despite having 6 more basses and a whole extra treble row.
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Thrupenny Bit

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #27 on: February 25, 2011, 05:11:15 PM »

I can understand different boxes to suit different occasions......or shirts!
Perhaps I'm a 'woody' sort of a person because I sit snugged up beside a fire in the local pubs I play sessions in and.....blend in with the furniture. In a wooden sort of way.
If I did want to stand out, I'd go 'bling' too!
Maybe it'll come with practise, or substantial help from the Fashion maestro's such as LdT.......  ;)

Theo - I suppose there's wood....and wood! If it's the model I'm thinking of, there was a silly little girl in a skirt let into the front somewhere....why I have no idea.
Too bling for me!!!!!!
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Clive Williams

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #28 on: February 25, 2011, 11:45:18 PM »

For me, in rough order:

Hohner Pokerwork in D/G. Everyone else at the morris team used them; loud, strong, cheap. I still like playing this at sessions.

Cheap chinese C/F (unbranded, probably a Parrot) - for playing in Dm and Gm. Sold on when the Hohner Club came along. A perfectly acceptable little box, once the action had been tamed.

Saltarelle Connemara 3 in D/G - wanted grown up box with more basses, voices, etc, chosen over Castagnari models because it was lighter, with shorter action, but in hindsight, a mistake. Build quality not great. Sold on later when the Mory came along.

Hohner Club in C/F - a better C/F box, with the old Hohner sound. A fantastic box, dry tuned, and used for Dm/Gm at French sessions.

Castagnari Mory in D/G- replaced the Saltarelle. Can do everything the Saltarelle can do, and a lot more, due to unisonoric bass setup. Used as a stand-up, versatile (mostly loud!) box with GIG CB, also as a sit down subtle stuff box with Vivant. Better at the subtle stuff, to be honest - the pokerwork is a better ceilidh box. But the Mory can also do pretty mean french waltzes, bourrees, and similar.

Castagnari Lilly in A/D - second hand purchase to give some extra keys (the A is useful in sessions), and it's tone, especially when being played without basses, is gorgeous. Doesn't get out much these days unfortunately.

Castagnari Giasco I in D/G - a light session box, designed to be carried to the pub easily, yet be (almost) as versatile as the Mory (the Mory is a heavy beast to carry any distance). Unisonoric basses, like a 12 bass Lilly - smaller and lighter than a Pokerwork. I played it out last weekend - it's an enormously versatile little box.

Streb - prinicipally got this because it can play any key. Invaluable for playing along with records at home, learning tunes, also used at mixed song/tune sessions where not everything is in D and G. In a session environment, quite often no-one even realises it's electric (yes, really!) and it gets lots of compliments on its tone. On its own, I grant you, its electric nature is a lot easier to spot.

Hohner Preciosa in Bb/Eb - a lovely little box, and the one that tends to get picked up and played at home. Classic ebay fuelled MADness; no excuse. It's currently teaching me the joys of subtle 8 bass playing - the 12 bass unisonoric layouts make life very easy and it's nice to try something a little different. Still planning to turn it into a 12 bass eventually though.

Cheers,

Clive

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #29 on: February 26, 2011, 12:24:41 AM »

I started on PA because I didn't know anything about melodeons and I did know how to play a piano keyboard.

B/C/C# Hohner Gaelic IV
Because (a) John Kirkpatrick played one and (b) I wanted the key freedom, and the bass buttons were at least like the PA
D/G Pokerwork
When I tried one and realised it made just as much noise at the Gaelic IV for half the weight and effort, and  by then I had also realized I didn't need to play in lots of keys.
D/G Oakwood
Many years later when I was persuaded that the pokerwork was no match for traffic noise when playing for morris in busy streets.
Chinese Toy  1 row in C
Does there have to be a reason? It was £20...
(Around this time I sold the Gaelic IV and the Pokerwork)
Hohner 4-stop 1 row in G
Because I'd always wanted a 1 row, and I had some money, and my life was my own (never mind the details) and in G because it seemed the most useful key.
Hohner 4-top 1 row in C, D/G Saltarelle Comnnemara III
For Mary to sing with. The Hohner (bought from Pete Coe) because of the sound and the key, and the Saltarelle because it can be stopped down to various sparse combinations of reeds that make it a good song accompaniment box and also very useful in the recording studio.
Castagnari Max in D
Originally because there was one song that needed it (you can see the MAD creeping in here, but with actual spousal encouragement it's hard to stop) We found other songs that work well with it, of course.
Hohner 4-stop 1 row in C
Yes, another one. Given to me by a friend who had inherited it and wasn't a player, and in better condition that the first, which Mary is now learning on.
Old C/F Hohner Club II
Bought via Melnet because I wanted to try out the club system, while considering the purchase of a Steirische Harmonica. Still haven't taken that plunge, but the C/F is a gorgeous sounding box that I've used for a number of TOTM/ThOTM videos. Surprisingly hard to find a job for it in the song arrangement department, but it will happen.
G/C Baffetti Binci three voice
I wanted a G/C for playing French music on. I was expecting to get something like a Pokerwork, but this appeared on the Melnet market and I couldn't resist it.

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Gary P Chapin

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #30 on: February 26, 2011, 12:37:52 AM »

I think about this all the time.  How much accordion do I really need?  I am not subject to MAD, but do obsess constantly over "the last melodeon I'll ever buy."  For eleven years, I've lusted after one Castignari or another.  First a Tommy, then ... well, I won't go through the list.  But I didn't get any of them.  Five kids, hey?  

  • So, I started on a Pokerwork, A/D, which was loaned to me by the widow of a local player.  She let me keep it for nearly three years.  I think it must have been worked on because it was very very subtle in sound and action.  Any player who got their hands on it coveted it.  Finally, she called and asked for it back, and that's when I got the G/C Corso.
  • I chose the Corso because it had an especially French sound, to my ears.  And I very much liked the low range.  I bought it at the Button Box for about $750.  It was a lovely thing in my life.  Selling it now hoping to get $500
  • I got the Castignari Giordy on a whim.  I saw the ad on the Button Box web site on the day they put it up.  Called and said, "Is it still there!!!" I got it because I liked the concertina sound.  Or so I thought.  I find I'm not that fond of the concertina sound anymore.  I'm selling this one, too.
  • The Salterelle Pastourelle III actually came to me as a gift.  Betweent he Pokerwork and this, I still can't believe the extraordinary generosity shown towards me.  I thought that would be the last accordion I would ever have to buy. And it is a beautiful, wonderful box, and if I were sane I would be content!  Two and a half rows for gosh sakes!  Plays everything I need play, but ...

So now I'm trying out this new Castignary Nik (http://accordeonaire.blogspot.com/2011/02/last-accordion-ill-ever-buy.html).  Somewhere along the way I decided I needed something new.  At first I was looking for a three row.  I was sure that if I had a three-row, all my problems would be over.  I confusicated between a G/C/F and a G/C/Acc.  I know a G/C/Acc is more versatile, but I was really taken by the "mystical meldoeon-ness" of the G/C/F.  So when one showed up at the Button Box I arranged to try it, but it was already out!!!  Then I noticed they had the Nik, two row, eight bass.  G/C.  The classic item.  I swooned.  Asked them to send it.  Now it's home and I love it.

I mean I LOVE IT.  It's touch is amazing.  The action amazing.  And the sound ... The Salterelle is a great box.  The Nik is heaven.  I never would  have decided, out of the blue, for a Nik.  But trying it, it's not the woodwork, or the name.  It's the feel and the sound.  Love it.  That's why you get the expensive box.
« Last Edit: February 26, 2011, 12:44:28 AM by Gary Chapin »
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Anahata

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #31 on: February 26, 2011, 08:39:34 AM »

trying it, it's not the woodwork, or the name.  It's the feel and the sound.  Love it.  That's why you get the expensive box.

Yes, that sums it up nicely.
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squeezy

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #32 on: March 01, 2011, 12:49:35 AM »

Just like Anahata, I too started on a piano accordion for exactly the same reasons - mainly ignorance!

Then I got a college bursary to help me pay for a D/G Pokerwork - I loved it - in fact I loved it so much that it now has a nasty coating of gaffer tape on the bellows, the bellows pins are all replaced by nails because I busked too hard with it and blew the pins out on to the streets of Oxfordshire.  Truthfully, I hated it at first because I spent a month in dreadful transition from the piano accordion where every time I changed direction it changed note and surprised me but Mally's books put me right.  My dad has it now.

I bought a Hohner 1 row 3 stop in G from a junk shop for £40 - it never played very well and ended up being painted purple and then taken to bits for research purposes!

Then I got a D/G Saltarelle Connemara II from a bloke in Witney that I saw for sale in a Folk Roots ad for £850 - it was practically all the money I owned in the world and left me incapable of paying for the rent for a month.  It was absolutely worth it though - it's my box of choice to this day and the weird keyboard layout it had has shaped my entire playing career.  Once it had been tuned by Nielsen it played and sounded like a dream.  With my later knowledge of Saltarelle boxes - this is a sweet sweet example and I will never part with it.

I then bought a C/F Saltarelle Irish Bouebe in cherry.  By this time I was working for The Music Room and sort of knew what was what - but I was very surprised by how tame in response it was compared to my played-in Connemara II.  Anyway - being able to play in new keys was a revelation and I played it in so that it got played in properly and began to respond like I wanted.  That one got stolen  >:( - I had returned late from a gig and took an armful of boxes with me to my flat.  I left this one and my Oakwood in the car and made a cup of tea.  When I returned I had no Irish Bouebe or Oakwood and a smashed passenger window in the metro.  Very sad.

Working for The Music Room has it's perks as I'm sure you can guess.  At Melodeons @ Witney I took in a D/G Oakwood model 7as part exchange.  I played it and bought it there and then from the company.  It was a brilliant box - I've never known a box be so forgiving at both low and high pressures from the bellows, and when played loud it had a zing like nothing else.  Very very sadly - it too was stolen.

So the insurance money came through for the boxes and I replaced them with a C/F Connemara II which came as stiff as all new Saltarelles and has never reached the suppleness of my D/G one.  I don't know if it's the reeds or what it is - but it just doesn't respond the same and to this day it still doesn't.  I also was at a loss for what to replace the Oakwood with so I asked Jon Turner at The Music Room in Cleckheaton how much I could get a Tommy for.  He put me in touch with Martyn at Oakwood who said they were having trouble getting Oakwoods made in time but he did have the prototype Model 7 still there and I could buy it if I still measured dimensions when they needed it done.  So I bought the Prototype D/G Oakwood model 7 - It too is beautiful in tone, size, looks and response - but unfortunately not the cracker of a box that the previous one had been.  I still have it but am looking for better.

Then a Bb/Eb Liliput came up at Pete Grassby's stall - I bought it like a shot because I had never seen anything like it - The Liliput craze had not yet happened.  I still have it but it is rarely used.

An A/E Dino Baffetti Red Pearl III had been sitting on the shelves in the Oxford Music Room for years and no-one seemed to want it so the powers that be reduced it's price to silly money and I bought it from my employers to expand the keys I could play in.  It is by far and away the most gaudy box I own, covered in rhinestones and with a floral bellows paper.

I bought a second hand D/G Connemara III to allow me to play the Oakwood pieces and the Connemara II ones on one box when flying overseas.  But it is simply too heavy for me to play in my style so I sold it fairly soon after.

I bought another German pokerwork in D/G for £40 from someone who came in to the shop who was just looking to sell it.  It was a cracker but I always wanted to have a go at tuning a box in a minor diatonic scale so I developed the Gm/Dm system and tuned it to that.  Great fun.  That box got totally trashed by EasyJet baggage handlers coming in from Germany though - but the reedblocks were salvaged.

Then I got a Streb - early on in it's development.  I think it was model no. 6 after reading about them.  I didn't quite know the possibilities, but was eager to try.  This was a 2 row streb.  I developed most of the sample patched I now use with MIDI on it.  I still have it,  but the ravages of playing it on stage has shown the early Streb models don't have the robustness of the later ones!

I got a Loffet Pro 3 row 18 bass after trying it out on Jon & Pam Fitzgerald's store and being amazed by both the lightness and the incredibly logical row of accidentals and extra basses.  Bought on a whim you might say - but this is probably the most versatile box system I have ever seen and although a bit too big for most of my playing has kept Bellowhead material within the scope of box playing as it's become more complex.  I still have it.

I then got a Streb 3 row 12 bass to allow me to play all my repertoire on one box if needed.   Steve really bent over backwards to deliver an instrument that could do all I wanted it to and it certainly does that.  Wireless MIDI is a godsend and the only thing holding the instrument back at all is the software and development necessary to get really accurate melodeon sounds which I can only develop when I have time.

I bought Andy's Jorgina in D/G - I fell in love with Jorginas when I was working at The Music Room, they sound so French and their construction is beautiful even though their design is a bit 80's.  Still as he says - this one is a bit too heavy for me too!  It is in the to clear out list despite the fact it is an amazing box exquisitely built by a real craftsman.

The only thing left to mention is that I am awaiting delivery of an Eric Martin 2 row in D/G - which I think will replace the Oakwood which sad to say might be in the clear out list if it works out for me.  I need something which can really sound like a 2 row one-row, and I'm hoping this will be it.

MAD anyone?  At least I can claim it's all tax-deductable!
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Alan Morley

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #33 on: March 01, 2011, 07:41:19 AM »

trying it, it's not the woodwork, or the name.  It's the feel and the sound.  Love it.  That's why you get the expensive box.

Yes, that sums it up nicely.

I agree with Gary on the 'feel and sound' argument...

Some expensive boxes that I have tried felt terrible and not worth me paying out huge amounts of cash.
Just because a box is expensive doesn't mean that it's the one you must have....

Also I feel that the quality of boxes is not consistant having owned two top price boxes - the new models of the same  boxes just don't 'feel' as good.
With being a guitarist too, I found over the years that two identical looking guitars never feel the same as each other....and I'd NEVER buy without having one in my hand.

I shopped around and tried loads of boxes before parting with the cash, and found a box that suited me.
« Last Edit: March 01, 2011, 07:55:34 AM by Almo2504 »
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Martin J

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #34 on: March 01, 2011, 08:45:11 AM »

The feel and sound of any instrument has to be the defining factor.  Expensive boxes are generally good but some are better than others and the odd one is a dog.  When I wanted a guitar for leaning on pub tables I worked on the reverse principle figuring that if expensive makers could accidentally make a dog, a cheap company could accidentally make a good, if not great, guitar.  I found a model in a cheap range that suited and went to half a dozen shops and played every one of that type they had.  After twenty or so guitars I found it.  An absolute gem for about £100.

I've not tried this principle with melodeons, the mileage alone could cost more than the instrument, but I agree with Alan that some boxes just "talk" to you.  I've had my Dony nearly twenty years and love it to bits but I've tried others of the identical brand and model which are not a patch on it.
Eight years ago I played a Weltmietser on a stand at a festival - magic.  Bought it and it is still a joy to play.  :|||: :|||:
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ladydetemps

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #35 on: March 01, 2011, 08:52:52 AM »

I do find its not in the name its in the playing. It was playing Tiny's Tommy that made me want to get one. And playing Susi's organetto made me want one of those. And I have to admit I was rather taken by Smoilers little red oakwood.
http://archantsuffolk.newsprints.co.uk/view/12724430/wt%2009%20traditional%20music%201_jpg

But my lack of funds prevents full blown MAD....I'm able to resist for now.
« Last Edit: March 01, 2011, 09:02:55 AM by ladydetemps »
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Chris Ryall

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #36 on: March 01, 2011, 09:07:36 AM »

Confession time is it? Here's my journey   (*=sold on)

Cheap red Chinese concertina* - it was rubbish

Wheatstone Linota G/C* - super, super instrument but it was strident and upset the cat.  It's capital appreciation (x8) over 19 years utterly astonished me, and Theo advises they've since doubled again. It's sale to a "good Yorkshire home" afforded my down payment on the Gaillard.  It would now finance the whole box!

Lachenal Bb/F concertina it was cheap - I never play it - Any offers?

Pokerwork D/G* - a birthday present from the 'wifelet'! I think she wanted me on something quieter  ???

Castagnari Lilly D/G I traded in the Pokerwork at 6 months. Not too efficient but I loved that box (and I still do)

Chinese tin one row in C Great jumble sale fun for £1!  It sort of "fell apart" after 8 years

Castagnari Mori C/F* "now i can play like Andy Cutting"   Er - "no"  :-\  but it did get me into lovely Dm, Gm French stuff.  Sold to a good Tyneside home to someone who plays this same stuff "rather better" ;)

Castagnari Organetto in G* Experimental for Morris, for which it's "cracking" :M (I had a Li300,000 credit at the Castagnari factory)  Sold to an apparent MAD-man!

Hohner Club C/F* good price (I was well skint) and it covered the keys my sold on Mori used to do*

Oakwood C#/D/G swing tuned complete flier on a serendipitous find. It worked out so well and is my jobbing sessions box. I'd had a rather bad motorcycle accident and the car's insurer 'surrendered' when its driver pleaded guilty to careless driving. C#/D/G setup has duplicated C# and F# notes. I experimented reversing the D/E plates (a disaster), then put it back. Persuaded Paul Flannery to retune the 2nd C#+F#s to D and F pull respectively. This breaks the box's symmetry .. but I found I could finally get to those cool scales Pignol plays - and "play like Norbert"  ... Er "no" :'(

Gaillard F#/G/C bandoneon tuned again financed out of my bike crash compo, but with kids all through Uni it's time for a treat. It is 'special order' at €400 extra. Bertrand clearly thought me an idiot, but it has exactly the same fingering as the Oakwood (and I'm now an old dog). The 18 bass is super and "it had no faults whatsoever"- except it's not so fluid for sessions in D/G.  It's my box to explore the b, bb and bbb keys and if I can ever find some jazz types near Birkenhead - I'll have a go.

At this point I sold back determinedly to just 2 boxes. But ...  Whoops! Castagnari Max in C An utterly MAD impulse purchase at EATMT last year. It turned out not to be in the D tuning it said on the tin ??? but at the price I paid  - I won't lose money!  

Over the years I've sort of bought the best I could afford and sold off expensive kit during divorce. I've never lost money on good kit.  With debts paid and a pratfall windfall i've now indulged myself with "something really nice". The Gaillard and Oakwood together cover all keys (at least chording) and sound very different. I love their quality, and being able to express the type of sound I want, rather than just get a note. Both have extended basses which get used. I can advise that a 3-row D/G (any type) covers any key you are likely to encounter in an English session.   The one row?  It's a completely different instrument.  I  might even trip it to Louisiana ...
« Last Edit: March 01, 2011, 10:03:40 AM by Chris Ryall »
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Alan Morley

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #37 on: March 01, 2011, 09:53:25 AM »

Permit me a slight detour - after all I did start this thread   ;D

Collectors Items

As a guitarist since 1963 (yes - I'm old...) there have been a lot more guitar-related things that drove me insane over the years, and when I look back loads of 'collectors items' slipped through my fingers when they weren't worth much at the time..

Guitars: 1965 Eko 700 v-3 Sharkbite, 1968 Fender Telecaster Blonde, Shaftesbury Rickenbacker, a rare Gibson that looked like a Strat, Fender Squire HM awsome guitar - Clarissa acoustic/electric 12 string in pink and silver, plus loads of others...too many

Amplification/ Effects : 1965 (ish) VOX AC 30 top boost, Selmer Zodiac 50 watt, Watkins Copi-Kat echo unit, Carlsboro TC 60 straight off the production line in Mansfield around 1968. Various other amps Marshalls, Peavey, Fenton Weil..

Dragging the thread back - I wish I hadn't had to part with the Tommy and the Lilly....but hey-ho, was very short of cash.... the Tommy was £900 new.

Alan




« Last Edit: March 01, 2011, 10:15:05 AM by Almo2504 »
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ISIS Melodeon, Hohner Erica,  Fender Strat Plus, Takamine, Hofner Violin Bass, Hohner CX12 Harmonica, etc.... Website: https://folk-music.uk

Chris Brimley

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #38 on: March 01, 2011, 12:12:21 PM »

So which is you, Alan?  And is that the PM's dad on the keyboard at the back?
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Alan Morley

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Re: Reasons to either buy / not buy and expencive melodeon.
« Reply #39 on: March 01, 2011, 12:24:37 PM »

So which is you, Alan?  And is that the PM's dad on the keyboard at the back?

I'm the good looking one in the black polo-neck jumper - with my EKO 700 v-3 Guitar and AC 30 amp.

It was at The Festival Inn, Trowell, Nottinghamshire - the Eric Pembleton Big Band is in the background.

I know it was 1967 because there is a a poster on view adverting the ITV televised wrestling for the following week, introduced by Kent Walton and featuring Jackie TV Pallo, Mick McMannus, Steve Logan etc.

I was only 17 and had been on the pub circuit for three years by then....that's why I failled most GCE 'O' Levels....
« Last Edit: March 01, 2011, 12:29:05 PM by Almo2504 »
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ISIS Melodeon, Hohner Erica,  Fender Strat Plus, Takamine, Hofner Violin Bass, Hohner CX12 Harmonica, etc.... Website: https://folk-music.uk
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