Ken_Coles

Never heard of them, which leads me to suspect they might be rebadged, imported instruments. But I may be out of touch; let's see if someone here knows more. Getting started on concertina without a big budget is challenging, though it can be done. Best of luck on the journey. Ken

It wouldn't surprise me if he checks in now and then. Glad to hear you are enjoying it (and playing concertina). Ken

Well, you have lots of company here. Many of us have been down the same road, but we're still here. Welcome aboard. Ken

A few years back I visited Colorado and went to a nice session in Fort Collins. A number of musicians there, though I was the only concertina that night. When i started playing over 25 years ago we were nearly all this isolated in the U.S. (no web then) and the makers here had not yet gotten established. Traveling to events and classes eventually got me a chance to try instruments. Good luck with the hunt. Ken

Gary, Is there a date for Old Pal in 2025 yet? Trying to plan ahead! Ken

You're off and running. No turning back now! 😎 Ken

That sounds like a standard treble, while the 56 would be an extended treble, but others here are the experts on the terminology. Ken

LOST/STOLEN Wheatstone/Boyd English Concertina: From C.net member echolevel, reporting the loss of his father's concertina at the Cambridge Folk Festival : See this thread.

I will add to lost/stolen thread. I'm guessing it is a treble? Best and we hope for speedy recovery. Ken

I'm guessing you are talking about anglo concertina? There are several tutors for Irish tunes. Let's see, Frank Edgley's tutor presents one way of doing it. Mick Bramich's book has another approach. When my wife wanted to try anglo the late Rich Morse suggested the Mel Bay book by Frank Converse. This one is overlooked and not often mentioned. Watching her go through the book, I was impressed with its approach. For example, it uses two different buttons to play the same note (at different times) in a tune early on (B if I recall correctly) without making a special fuss. That is something we should all learn eventually but is not often seen in the tutor books. This is a another reason we miss the Button Box shop in the U.S.; they sold and had advice on all the books and videos out there. If you can't find these books give me a yell and I'll see where they might be available. There are myriad ways to finger, for example, a G scale on a C/G anglo, and just about every one of them has been used by some teacher, somewhere. Once you find a tutor book or teacher, the standard advice is to stick to one fingering system for awhile before branching out. You'll know when you are ready to experiment. OTOH, in about 2001 I was in a week-long workshop with Father (later Monsignor) Charlie Coen. A student asked him where they should play some common, duplicated note, a G or a D probably, in a tune he had just taught us. "Wherever you find it," he replied. Clearly he didn't worry about how students finger tunes! Ken

This question might get more responses in a new thread/topic of its own. Welcome to C.net! Ken

[Note to others: we're discussing anglo concertina here.] Both B/D and B/A are out there; I find both varieties on Lachenal/Wheatstone layouts. Some may have been altered later in their lives. Many of us find B/A more useful (as that same D is in two other places on my anglo), but you learn to use whatever you have. That button is one of the things I'd check when considering whether to buy an anglo (along with the entire accidental row). Ken

Is this an anglo, or English/Duet? That tells us if the note is the same in both bellows directions or not. Easier than chasing down a reed to order from Hohner might be to go to anyone who works on piano and button accordions and see if they have a reed that would fit. I don't know if there is such a person on Cape Cod but there should be in the Boston area, I would think. OTOH, Others here may have better ideas. Ken

I developed tinnitis around age 35 (about 30 years ago now!). It took a long time to realize it was my own brass playing (trumpet and horn) that likely contributed to this. I now use musician earplugs whenever in loud situations (or practicing with a fiddle under my left ear). For brass, you don't lose anything essential and I've even used them in concerts. I haven't had a concertina "gig" in many years, 😎 so I can't comment on whether earplugs cut out essential sound there. Good luck managing it - you can do it. Ken

Don't wait a few years to come back! Visit and post whenever you have a question, experience, or story. Enjoy the journey. Ken