Wheatstone vs Jeffries vs Lachenal
S2MAURICE
Hello,
I am looking to buy a better anglo concertina than the 40b Bastari I have
currently.
But, I am very confused as to the differences between the Wheatston, Jeffries
and Lachenal models. Which of these is the easiest to play? Which one has the
best layout for the accidental notes? Any information or opinions concerning
what to buy would be greatly appreciated.
Also, does anybody know what the irish anglos made by the German Jurgen Sutton
are like? His prices fall about halfway between that of a Herrington and a new
Dipper or Connor.
Steve s2ma...@aol.com
Tim Willets
In article <19980213200...@ladder02.news.aol.com>, S2MAURICE
<s2ma...@aol.com> writes
>Hello,
>
>I am looking to buy a better anglo concertina than the 40b Bastari I have
>currently.
>But, I am very confused as to the differences between the Wheatston, Jeffries
>and Lachenal models.
I'm not a concertina expert but I do know one thing. The Jeffries is the
loudest.
--
Tim Willets
Anahata
In article <19980213200...@ladder02.news.aol.com>
s2ma...@aol.com "S2MAURICE" writes:
> I am looking to buy a better anglo concertina than the 40b Bastari I have
> currently.
> But, I am very confused as to the differences between the Wheatston, Jeffries
> and Lachenal models. Which of these is the easiest to play? Which one has the
> best layout for the accidental notes? Any information or opinions concerning
> what to buy would be greatly appreciated.
Wheatstone anglos (if you can ever find one) tend to have a very even tone,
i.e.consistent between the different notes. I think the reason is because
the reeds are arranged in a radial pattern vs. Jeffries parallel layout, so
the cavities surrounding the reeds are all of similar size.
Jeffries anglos are prized for the strident and powerful tone, which is
partly accounted for by Jeffries' use of particularly hard steel for the
reeds. They are popular for morris dance music because they are loud. Also
You're more likely to find one because Jeffries specialized in Anglos, whereas
most Wheatstone concertinas are English system. In fact I've never heard of
a Jeffries English concertina - he may never have made any.
All the Lachenal Anglos I have seen were wooden ended. They are generally
cheaper and don't have the quality of Jeffries or Wheatstone, but a good
Lachenal Anglo can have a sweet sound that is useful for song
accompaniments. My first Anglo was a 20 key Lachenal, and my second was a 30
key Lachenal, and they are a *good* beginner's instrument.
I don't think there's much to say about the layout of the accidentals on the
different types. Jeffries tend to be different from the others, but almost
no two concertinas are alike. Whichever system you have, you get used to.
Try a few different boxes if you can - see what you like, though without
some time to practice it's difficult really to know.
--
Anahata
ana...@freereed.demon.co.uk http://www.freereed.demon.co.uk/
ana...@locust.ml.org (sends SMS to mobile phone, 8 lines max)
phone 0171 229 6076 home, 0171 638 5577 work, 0976 263827 Orange mobile
DoN. Nichols
In article <887411262s...@freereed.demon.co.uk>,
Anahata <Ana...@freereed.demon.co.uk> wrote:
>In article <19980213200...@ladder02.news.aol.com>
> s2ma...@aol.com "S2MAURICE" writes:
>
>> I am looking to buy a better anglo concertina than the 40b Bastari I have
>> currently.
>> But, I am very confused as to the differences between the Wheatston, Jeffries
>> and Lachenal models. Which of these is the easiest to play? Which one has the
>> best layout for the accidental notes? Any information or opinions concerning
>> what to buy would be greatly appreciated.
>
>Wheatstone anglos (if you can ever find one) tend to have a very even tone,
>i.e.consistent between the different notes. I think the reason is because
>the reeds are arranged in a radial pattern vs. Jeffries parallel layout, so
>the cavities surrounding the reeds are all of similar size.
The later Wheatstones, at least the English system ones, have the
cavity tuned by a cross partition. I'm not sure how practical that is when
building an anglo, since you have two different notes sharing the same
cavity.
>Jeffries anglos are prized for the strident and powerful tone, which is
>partly accounted for by Jeffries' use of particularly hard steel for the
>reeds. They are popular for morris dance music because they are loud. Also
>You're more likely to find one because Jeffries specialized in Anglos, whereas
>most Wheatstone concertinas are English system. In fact I've never heard of
>a Jeffries English concertina - he may never have made any.
I do know that Jeffries also made some duet concertinas. I have
heard of people taking Jeffries duets and converting them into Anglos, which
I consider undesirable -- to convert a rarer instrument into a somewhat less
rare version.
>All the Lachenal Anglos I have seen were wooden ended. They are generally
>cheaper and don't have the quality of Jeffries or Wheatstone, but a good
>Lachenal Anglo can have a sweet sound that is useful for song
>accompaniments. My first Anglo was a 20 key Lachenal, and my second was a 30
>key Lachenal, and they are a *good* beginner's instrument.
I note that you don't cover Jurgen Suttner's instruments. They are
patterned after the Wheatstone anglos, and the construction seems to be
pretty much the same as the Wheatstones, based on the photos that I have
seen, and the extra exchanges via e-mail that I have had with him. Since:
1) I have not seen the instruments in person
2) I don't play anglo
I have to base my opinions on the photos and the e-mail exchanges --
plus opinions from others which have rated them as very good instruments.
Going back into my web page to refresh my memory, one of the three
Anglos shown *is* metal ended -- and a *very* open fretwork on it, so I would
think that it should be *very* loud.
I'm also starting exchanges of e-mail with Richard Harrington, who
is in Texas, and who makes Anglos tailored on the Jeffries patterns, though
with reeds from the accordion world -- good ones, but still accordion
reeds. I would think that it would be at least an improvement over the
other accordion-reed instruments, and perhaps even as good as the Lachenal.
I will be soon seeing an example of his somewhat different button action,
and will perhaps be in a position to compare them to others.
>I don't think there's much to say about the layout of the accidentals on the
>different types. Jeffries tend to be different from the others, but almost
>no two concertinas are alike. Whichever system you have, you get used to.
>Try a few different boxes if you can - see what you like, though without
>some time to practice it's difficult really to know.
As a non anglo-player, I certainly can't offer reasonable opinions
on the various button layouts. :-)
Squeeze On,
DoN.
--
NOTE: spamblocking on against servers which harbor spammers.
Email: <dnic...@d-and-d.com> | Donald Nichols (DoN.)|Voice (703) 938-4564
My Concertina web page: | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---
Maurice R. Turcotte
s2ma...@aol.com (S2MAURICE) wrote:
>Hello,
>
>I am looking to buy a better anglo concertina than the 40b Bastari I have
>currently.
>But, I am very confused as to the differences between the Wheatston, Jeffries
>and Lachenal models. Which of these is the easiest to play? Which one has the
>best layout for the accidental notes? Any information or opinions concerning
>what to buy would be greatly appreciated.
>Also, does anybody know what the irish anglos made by the German Jurgen Sutton
>are like? His prices fall about halfway between that of a Herrington and a new
>Dipper or Connor.
>
>Steve s2ma...@aol.com
>
Steve,
Every concertina is different. Even new ones from a contemporary
maker. You just have to try the instrument and see if it feels right
to you. My Jeffries is way too "loose" for some folks, but it is what
I am used to so it feels right to me.
As for arrangements of accidentals, mine is unique, with C# in strange
places. If you look at older instruments, you may find quite a
variety, especially between Lachenal and Jeffries. The one Wheatstone
I've played was set up just like a "normal" Jeffries. Within reason,
you can switch out some reeds if you absolutely must have a certain
configuration. And, of course, if you buy a new instrument you can ask
the maker for a custom layout.
The Suttners are really nice instruments. I prefer the 39 button
Jeffries-style with black raised ends. It is not quite as loud as the
metal ended version, but it does fine in a group. And it looks really
good, in a sort of a Dart Vader way. I just sent a Jeffries and one of
these Suttners on approval to a fellow and he chose the Suttner over
the Jeffries. To be fair the Jeffries was priced 25% higher, though.
I have never seen a Herrington or Connor, but the one Dipper I've
tried felt awkward to me and sounded "dull". But, as I said, this is a
personal preference. Or it may have been an inferior example.
Hope this helps. This is all opinion, and all mine, but I think that
is what you asked for. Good luck.
mrt
S2MAURICE
Group,
First off, thanks to all for your responses. They have been most helpful. I
live in Iowa, USA. and there are vrtually no music shops within hundreds of
miles of me that have concertinas for sale. So, I have to gain any knowledge
for the purchase of a better instrument through all of your experiences.
mrt,
You said that you liked the 39b Jeffries w/raised ends. what can you tell me
about the difference between the raised ended and flat ended concertinas. Is
this strictly cosmetic, is this an anatomical advantage for the fingers or is
there a difference in the tone?
Jason O'Rourke
S2MAURICE wrote:
> Also, does anybody know what the irish anglos made by the German Jurgen Sutton
> are like?
The one time I looked at one was a long time ago when Juergen came over
to Miltown Malbay. I can remember being impressed with the instrument's
tone and construction, but it was hard to get a decnt idea of the speed
it might run at, because it was brand new, and the bellows were stiff. I
have heard very good reports of his anglos recently, notably from John
MacMahon whose opinion I regard highly - he bought an Eb and is very
pleased with it. I was going to buy a Bb but I ran out of money - I'll
get there one day! If you want to get in touch with Juergen, I can give
you his e-mail address.
All the best,
Jason
--
Jason O'Rourke
School of English, Queen's University, Belfast
Visit me at: Http://www.angelfire.com/or/jasonOruairc/
'Dear Lord the day of eggs is here'
-Amanda McKittrick Ros, possibly Ireland's greatest writer.
Chris Timson
S2MAURICE <s2ma...@aol.com> writes
>You said that you liked the 39b Jeffries w/raised ends. what can you tell me
>about the difference between the raised ended and flat ended concertinas. Is
>this strictly cosmetic, is this an anatomical advantage for the fingers or is
>there a difference in the tone?
SFAIK, the raised ends are purely cosmetic. I stand to be corrected
here, but I believe raised ends were introduced by Wheatstone on their
Aeola models in the 1890's as part of the effort to distinguish these
high-end models from the rest of the range. Lachenal did the same with
their high-end Edeophones at the same time. As a result raised ends came
to be associated with quality instruments, though it's worth noting that
I have never seen a Jeffries or a Crabb with raised ends. I have a
modern Wheatstone anglo with raised metal ends from Steve Dickinson, and
I find that the tips of my fingers can touch the end plate while I am
playing. This doesn't disurb me at all, though I imagine that others may
not like this.
To pick up on an earlier point of DoN's. The duets that Jeffries made
were of their own invention, and were intended for anglo players to
convert to. Essentially they took a row on an anglo and broke it out
into two rows. This means that for an anglo player they are relatively
easy to pick up (the only time I ever tried one - it belonged to Nick
Robertshaw on one of his infrequent trips to the UK - it took me just a
few seconds to find a scale) but for anyone else they are murder. If
ever I encounter one for sale I intend to buy it like a shot, but they
seem to be *very* rare.
Chris
--
Chris Timson Have concertinas, will travel
and Phone (UK) 01225 863762
Anne Gregson For our home pages and for the Concertina FAQ:
http://www.harbour.demon.co.uk/
Maurice R. Turcotte
s2ma...@aol.com (S2MAURICE) wrote:
>Group,
>
>First off, thanks to all for your responses. They have been most helpful. I
>live in Iowa, USA. and there are vrtually no music shops within hundreds of
>miles of me that have concertinas for sale. So, I have to gain any knowledge
>for the purchase of a better instrument through all of your experiences.
>
>mrt,
>
>You said that you liked the 39b Jeffries w/raised ends. what can you tell me
>about the difference between the raised ended and flat ended concertinas. Is
>this strictly cosmetic, is this an anatomical advantage for the fingers or is
>there a difference in the tone?
I was referring to the Suttner copy of a Jeffries with raised wooden
ends. I have never seen a Jeffries with anything other than metal
ends, so this apparently is a Suttnerism.
Yes the anatomical feel is different, and I like the raised ends
slightly better, but not enough to influence a buy/nobuy decision.
Yes, the sound is different, but I think it has more to do with the
metal ends vs wood ends, rather than the raisedness of the ends. In
the Suttner line, I prefer the sound of the wood ends. Others have
different opinions, I'm sure.
mrt
Pete Young
DoN. Nichols <dnic...@d-and-d.com> :
> I do know that Jeffries also made some duet concertinas. I have
>heard of people taking Jeffries duets and converting them into Anglos, which
>I consider undesirable -- to convert a rarer instrument into a somewhat less
>rare version.
In this case, rarer is almost synonymous with unplayable, at least for
mere mortals! The only person I've heard play one is Michael Hebbert,
and he is clearly an extremely talented musician. For my part, I once
spent an entire afternoon trying to figure out how to play a scale on
a Jeffries duet without success.
I can see an argument for converting a duet to anglo if it means that
the instrument will be played, and not sat in a box on a shelf in a
cupboard somewhere.
--
____________________________________________________________________
Pete Young pete....@bt-sys.bt.co.uk Phone +44 1473 605525
"Just another crouton, floating on the bouillabaisse of life"
Robert DeVellis
=====================
Bob DeVellis
Bob_De...@unc.edu
University of North Carolina at Chapel Hill
On Fri, 13 Feb 1998, Tim Willets wrote:
> In article <19980213200...@ladder02.news.aol.com>, S2MAURICE
> <s2ma...@aol.com> writes
> >Hello,
> >
> >I am looking to buy a better anglo concertina than the 40b Bastari I have
> >currently.
> >But, I am very confused as to the differences between the Wheatston, Jeffries
> >and Lachenal models.
>
> I'm not a concertina expert but I do know one thing. The Jeffries is the
> loudest.
> --
Not necessarily. Although Jeffries concertinas are loud, Dippers
are generally even louder, despite wooden ends. My Dipper also has a
brighter tone that my Jeffries, which seems to be a typical difference
between the two. But, there's substantial variation from instrument to
instrument in tone and feel and a good Jeffries and a good Dipper are both
superb instruments and which one prefers is largely a matter of personal
taste. I suspect the same is true of Wheatstone anglos but I've only
played one and it was before I could tell much difference between one
concertina and another (it may have been the first concertina I ever
"held" - I certainly wasn't able to play nything on it.)
> Tim Willets
>
>
Chris Timson
"Maurice R. Turcotte" <mt...@mindspring.com> writes
>Yes, the sound is different, but I think it has more to do with the
>metal ends vs wood ends, rather than the raisedness of the ends. In
>the Suttner line, I prefer the sound of the wood ends. Others have
>different opinions, I'm sure.
It is also worth mentioning (as I have before) that while wooden ends
soften and sweeten the sound as compared with a metal ended instrument,
a greater effect can be had by adding leather baffles to an instrument
without them. It is an easy job using the ubiquitous double-sided tape,
and they are of course removable. Beware, however, removing leather
baffles from old concertinas where they are part of the original design.
In this case the internal spacers may well assume the presence of the
baffles, and cause the ends to distort on reassembly.
Baffles are very much a matter of taste. I love the sweetness they give
and have fitted them to all our concertinas not already possessing them,
but then we're singers and use the tinas mostly for song accompaniment.
Chris Timson
Pete Young <you...@olympus.info.bt.co.uk> writes
> For my part, I once
>spent an entire afternoon trying to figure out how to play a scale on
>a Jeffries duet without success.
>
>I can see an argument for converting a duet to anglo if it means that
>the instrument will be played, and not sat in a box on a shelf in a
>cupboard somewhere.
No, please don't do it! See my earlier post where I express my desire to
get hold of a Jeffries duet. As I said then, the layout of a Jeffries
duet is not *meant* to make sense to normal people, but to anglo
players...
Jim Lucas
Anahata <Ana...@freereed.demon.co.uk> wrote in article
<887411262s...@freereed.demon.co.uk>...
> In article <19980213200...@ladder02.news.aol.com>
> s2ma...@aol.com "S2MAURICE" writes:
>
> > I am looking to buy a better anglo concertina than the 40b Bastari I
have
> > currently.
> > But, I am very confused as to the differences between the Wheatston,
Jeffries
> > and Lachenal models.
> ... I've never heard of
> a Jeffries English concertina - he may never have made any.
I have heard of one, owned by someone in southwestern America. And I have
a Crane-system made by Jeffries, which I understand is rare, but not
unique.
> All the Lachenal Anglos I have seen were wooden ended. They are
generally
> cheaper and don't have the quality of Jeffries or Wheatstone, but a good
> Lachenal Anglo can have a sweet sound that is useful for song
> accompaniments. My first Anglo was a 20 key Lachenal, and my second was
a 30
> key Lachenal, and they are a *good* beginner's instrument.
Your experience is apparently limited. Lachenal made lots of metal-ended
anglos, including both cheaper and deluxe models. I even saw one once with
domed metal ends and four rows of buttons, the extra row in each hand
extending the range as well as increasing the number of notes available on
both push *and* pull. (Unfortunately, it was sold to someone else while I
was out raising the cash to get it myself.) But it is true that Lachenal
made a much higher percentage of the low-end instruments, in both wood- and
metal-ended styles.
> I don't think there's much to say about the layout of the accidentals on
the
> different types. Jeffries tend to be different from the others, but
almost
> no two concertinas are alike. Whichever system you have, you get used to.
> Try a few different boxes if you can - see what you like, though without
> some time to practice it's difficult really to know.
It may also be possible to switch the locations of reeds if their frames
are the same size. So I've set up the right hand of my C/G so that the two
C#'s (push and pull) are on the same button, and the two D#'s on the next
button (instead of one of each on each button, which is a common layout).
I've been told that Noel Hill also rearranges his instruments this way. In
addition, I like the left-most inner-most button on the left hand to have
low A on the pull, rather than duplicating the pulled D in the C row.
Unfortunately, this is not something one can get by just rearranging the
reeds; it has to come that way.
It is also true that 30-button instruments generally show only a few
variations, while 40-button ones vary all over the map, and 20-button ones
seem to vary only in that D vs. low A.
Happy hunting!
David Glenn
>I am looking to buy a better anglo concertina than the 40b Bastari I
>have currently.
>
>Jeffries and Lachenal models. Which of these is the easiest to
>play? Which one has the best layout for the accidental notes? Any
>information or opinions concerning what to buy would be greatly
>appreciated.
>
>a Herrington and a new Dipper or Connor.
I'll weigh in on the Suttner question. I've played ITM on a 38b c/g
metal-ended Jeffries model Suttner for 3+ years and find it very suitable.
The tone is nice (though a few notes could be more balanced) and the
construction is lovely and holds up very well (daily and gig playing). The
few nits I could pick with it are the tad bit undersized air hole (not a
problem, just a wish), the button pattern could be adjusted somewhat for a
better 'finger fit' (at least for my hands), and it is a bit on the heavy
(weight) side. I love the metal ends BTW, loud and shiny, kewl.
It's not a Dipper but it is far better than the typical Lachenal and much
more available/affordable than a Wheatstone or Jeffries. I would say a full
2 orders of magnitude above a Bastari and maybe 1/2 an order below a Dipper.
The Jeffries accidental layout is a bit more useful, especially in the upper
range. Adjusting from a Bastari type layout isn't really a great pain
(assuming you move the C#). There's not much use in the extra buttons (past
32 or so) for general ITM but I do use a couple regularly.
Call and get in line or just keep an eye open, boxes pop up in weird places.
Dave
Kelly & Jan Crumpley
Hey, Sqeezers!
I'm on the waiting list for mine, played one last summer and it's the
best choice on the market today.
I can't wait! But I will, I wonder if Jüergen & Brigitte are listening
in?? They do, you know!! Wonderful folks, the Suttners.
Saving my $$, watching the rate on the dm.
Glad to see that others have made the same choice.
Mine will be 39 button Jeffries-style with metal ends, nice and loud.
Much more facile than the Stagi I am still playing!
Cheers,
Jan C.
Delaware USA
Tim Willets
In article <Pine.GSO.3.95.980217110128.17193D-
100...@sophia2.sph.unc.edu>, Robert DeVellis <rdev...@sph.unc.edu>
writes
>
> Not necessarily. Although Jeffries concertinas are loud, Dippers
>are generally even louder, despite wooden ends.
I'll take your word for that. But out of the three originally mentioned
I still reckon the loudest is the Jeffries (let me put it this way - I
once sat next to a particularly vigorous Jeffries-squeezer; after two
hours my left ear was ringing).
--
Tim Willets
DavBa...@aol.com
Pete Young wrote:
>In this case, rarer is almost synonymous with unplayable, at
>least for mere mortals! The only person I've heard play one is
>Michael Hebbert, and he is clearly an extremely talented
>musician. For my part, I once spent an entire afternoon trying
>to figure out how to play a scale on a Jeffries duet without
>success.
Doesn't (our own) Nick Robertshaw play a Jeffries duet? Whatever
that thing is he plays, he makes it seem like the most natural
thing in the world.
Later, Nick.
______ /\/\/\/\
<______> | | | | | David Barnert
<______> | | | | | <davba...@aol.com>
<______> | | | | | Albany, N.Y.
<______> \/\/\/\/
Ventilator Concertina
Bellows Bellows
(Vocation) (Avocation)
Nick Robertshaw
(Jeffries hunters: Keep your eyes open for a Jones too. Charlie Jeffries
built many of these for Jones before he started his own business and
they sound wicked good)
Thanks for the recognition, Chris, David. I shall reveal the Master
Musician Method for learning the Jeffries Duet. The value of this method
is that it applies to all other types of concertina should you find
yourself without the assistance of an instructor or technical manual.
You will need:
The concertina
2 beer mats (Marstons Pedigree worked at the time but follow your own
preferences. Avoid Guiness for reasons that will become apparent)
A pen
A pint of bitter
1. Drink the beer and admire the concertina (be sure not to confuse the
two). OK. You'll need to replace the pint now.
2. Mark one beer mat 'L' and the other 'R'
3. Find a stray button on the concertina, not grouped with the others.
This is the air button and is a clue to which way up (and round) to hold
the box--position the concertina so that this stray button is reachable
by your thumb when your hands are in the straps. Now you know which is
the right and left side. Unless it's an English concertina, you will get
high notes on the right side and low notes on the left.
4. Sketch a plan of the buttons on the beer mats. Draw a little circle
for each button
5. When Neil Wayne comes in and interrupts wanting to buy the concertina
for ten quid more than you paid for it, tell him to (insert
user-preferred advise phrase)
6. The tricky part. Choose one of the following, according to your
musical ability
6 (a) If you have perfect pitch: Press each button in turn and write
the note it plays in the corresponding circle on the beer mat
6 (b) If you have relative pitch: Pick a button and call it C. Proceed
as in 6(a). If you were unlucky (11 chances in 12) about your C button,
you will now have a transposing instrument. So if you later find that
your C was, in fact, an Eb, you will be able to play Alto Sax parts
without further transposition (amaze your friends!)
6 (c) If you can match pitch: Go over to the piano (further reason for
pub setting is now revealed). Press each button in turn and poke notes
on the piano until you hear the same pitch (don't try this if someone
else is already playing the piano). Proceed to fill out your beer map.
6 (d) None of the above: You might not be an amazingly talented
musician after all and might want to consider sports, or cooking or an
Anglo instead. Track down Neil Wayne, apologise, and take him up on his
offer.
7. Now you're ready to join all other hopeful instrumental sudents.
Simply decide which notes you want to play and in what order and press
the buttons accordingly (accordionly?) using your beer maps. Lo! The
Mason's Apron; The Flight of the Bumblebee; Frere Jacques.
Note: Step 7 can take a while. Be patient and keep trying.
Nick Robertshaw
ParaGlyph Marketing and Communications Services
**** http://www.clark.net/pub/bignick/indentina.html ****
Robert DeVellis
Tim Willetts mentioned being blasted when sitting beside a
Jeffries player. I can relate. A real potential problem with concertinas
in my experience (and others have made similar comments) is that the
player has a harder time hearing the thing than people in the vicinity,
especially those to either side. Some concertina players I've talked to
say that, in sessions, they try to sit next to a wall or in a corner so
that the sound reflects back at them. It's especially a problem on tunes
that haven't been fully mastered. Playing loud enough to hear my own
notes above the din means blasting the people on either side, which I'm
very reluctant to do. Short of miking a concertina, has anyone found a
remedy for this problem? Or are others not bothered by the directionality
of the sound coming out of their boxes? Has there ever been an effort to
design a concertina that directs sound forward rather than to the sides? I
wonder if little "hood scoops" on the fretwork, aimed forward, would
direct the sound or just muffle it.
Cynthia Teague
In article <34EC41F3...@paraglyph.com>, big...@paraglyph.com says...
a standard Crane system layout. Any idea how this relates to the Jeffries
duet?
Cynthia Teague
tea...@pilot.msu.edu
Nick Robertshaw
Cynthia Teague wrote:
> In article <34EC41F3...@paraglyph.com>, big...@paraglyph.com says...
> >
> >(Jeffries hunters: Keep your eyes open for a Jones too. Charlie Jeffries
> >built many of these for Jones before he started his own business and
> >they sound wicked good)
> >
> >
> >
> Hmm, this is quite interesting. I have a Jones duet -- but the buttons follow
> a standard Crane system layout. Any idea how this relates to the Jeffries
> duet?
>
> Cynthia Teague
> tea...@pilot.msu.edu
You might think of relationship between a Crane Duet and a Jeffries Duet as a
parallel of the relationship between an English and an Anglo: If you modify
a concertina (English or Anglo) to answer to the Duet
Imperative (put the high notes in the right hand and the low notes in the left
and play the same note sucking and blowing), the Duetized English is the Crane
and the Duetized Anglo is the Jeffries.
(In anticipation of the question of why the Crane rather than the McCann should
be considered the Duetized English: The Crane puts the 'white' notes on the
center
columns and the accidentals on the outer 2 columns, just as the English does.
The
McCann, with its extra column of buttons, can afford to sprinkle some accidentals
into the center column.)
Nick Robertshaw
The Concertina Spotters Guide can be found at:
**** http://www.clark.net/pub/bignick/indentina.html ****
Leon Ashley Peek
Robert DeVellis wrote:
> >Some concertina players I've talked to
> >say that, in sessions, they try to sit next to a wall or in a corner so
> >that the sound reflects back at them.
In addition to playing guitar a little and learning the Anglo, I do some sound
work.
The barrier effect is well known in sound reinforcement. If you put a "driver"
(Sound guy talk for a loud speaker) in the center on a wall that reflects
sound, you greatly increase the gain from that speaker. The sound energy that
would have dissipated in a circle, more or less, now will go only one way. If
you put it in the corner between wall and floor (ceiling), even more gain. If
you put it in the corner made by wall, floor (or ceiling), and another wall,
even more gain will result from the same initial sound energy from the
speaker.
With the concertina in a jam or session, if you sit by a wall on your right
side that reflects so you can hear it better, you might be directing 180% of
the "one way" sound energy to the side away from the wall, the person on your
your left might really get an ear full. You might sound louder in the rest of
the room too.
The problem of hearing yourself over the din is one of signal to noise. When
playing in a jam session, you want to hear as signal who is playing the lead
(including yourself if your are in the lead), who is keeping time (usually the
bass player, a drummer, or strong rythem guitar), and anyone you are playing
off of. The rest of the band is noise.
When difficult or inexperienced players get in jams, they all play louder to
hear themselves and everyone is lost. If the player is experienced and
difficult, the best advise is to move to another jam.
Experienced players keep their instruments below the level of the lead. If you
cannot hear the lead over your instrument, you are way too loud. If you are
playing quietly because the lead is quiet (or there are a lot of players) then
you do not have to hear your mistakes because no one else will either.
Practice playing the correct notes at home. You can hear experienced players
get quiet for guitar leads or bass leads.
In a jam where no one takes the lead, there will either be too many players or
not too many. If there are not too many, then you will be able to hear all of
the otehr players and yourself. If there are too many, you will not hear what
you need to hear. The solution to too many players in jams where no one takes
the lead is to start a separate jam with fewer players or start passing the
lead voice around among those who want it. Taking turns is a good thing.
At festivals I like it when everyone tries to play in one big jam. This means
that a few of us can all play together and hear each other.
Leon
Chris Timson
Nick Robertshaw <big...@paraglyph.com> writes
>7. Now you're ready to join all other hopeful instrumental sudents.
>Simply decide which notes you want to play and in what order and press
>the buttons accordingly (accordionly?) using your beer maps. Lo! The
>Mason's Apron; The Flight of the Bumblebee; Frere Jacques.
Thanks, Nick. Now I know the step that I have been missing in my so far
stalled progression from concertina clod to instant musical maestro. Now
where did I put those beermats...
Chris
PS do you think beermats from the Concertina Brewery would be more
effective than those from, say, Shepherd Neame? And presumably Watneys
(or in the States, Miller) would be a distinct disadvantage?