2014 - Eight years later
Eight years have gone, and the instrument has been played intensively – more than 3000 hours, as an estimate.

Oulu 2014
- in action at the Irish Festival of Oulu [photo: Evgenia Olegovna Lisiutina]


It is now clear to me that
the hand-straps, the wider horizontal spacing between the buttons and the fact that they go all the way down to the end plate has contributed to, or facilitated, a different style of playing.

But its limitations have also started to show
the sound is too much in the low end and too little in the high. Oh, no – it doesn’t sound bad, it just doesn’t sound really like a concertina – it lacks “crisp”. And it “muddies” a bit - rolls aren’t clear enough - again: there is lack of “crisp”.

While the new style, applied to a traditional English (a 1909 metal-end Wheatstone, 48 b) is disturbed by the uncomfortable closeness in the button cluster, it still reveals that a lot of rolls can sound much crisper and “just like the CD” ;-).

And so?
So slowly, slowly, the idea of making a new instrument completely from scratch started to form. Listening to Geoff Crabb’s concertina making lectures at the Bradfield Traditional Music Weekends from 2006 to 2010 added the inspiration and did a lot to map out the size of the task. Retiring in 2010 added further inspiration!

So, here we are again! This time, though – since the last couple of years has been dedicated to making the tools – I will not go into all details of
that process but only show the finished tool “doing its thing” – including the mistakes! Most often, the nature of a mistake holds the solution for the improvement of the tool.

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