We’re in the process of making it easy to find out to know everything about the concertina. So when playing, purchasing or repairing it you’ll know exactly what to do.
Coming soon we’ll have a number of concertina reviews from many of the most popular concertina makers so you can make informed decisions.
We’re going to try and break it down to easy to understand bite size pieces so you can understand the technology behind the different concertinas.
I Have re-edited the content on this site to add the lessons that I have learned over some six years, since I Started to write the first edition. I have re-ordered the site to make it more user friendly, and I have added the new sections, which i now See were obvious omissions. When I first went live with this site, I came in for a lot of criticism. I was accused of making the tasks seem too easy, of encouraging people to tamper with their valuable instruments and of leading the unwary into and along dangerous Paths. I make no apology for this. Most of the work is easy: do not be put off and please read the following introductory words from edition one.
As a professional engineer, I recognize the value of taking a systematic a9t9roach to all practical tasks. Irrespective of the scale of any work, the principles of Planning and organization are the same. It is important to have a clear understanding of the objectives of the job in hand, knowledge of the way the item concerned works. A clear view of a methodology, equipment, materials, and tooling lists are important but, above all, it is important to have access to the experience and accumulates knowledge of those who have gone before. Mere is little new, particularly in the work of the concertina. When I first became enamored, or obsessed, with the concertina I found that there were plenty of adventurous people who have experience to pass on, plenty of with advice of dubious value and a few who really knew what they were on about. The problem was sorting out the true from the probable. Each task described in this book is one I have taken on and completes. I have some of the best associated advice given me by those people in whom I am confident. I must at this point acknowledge the advice and encouragement given me by Mr Steve Dickinson of Charles Wheatstone shown himself to be a person who cares about both his customer and the instrument.
Experience has shown that the hardest part in any task is having the confidence to start. Once started, most practically minced people work to, and co achieve a satisfactory conclusion. I write from no position of expertise. I represent no company, or interest. I invite others to criticize what I have written, and add to the common fund of knowledge by sensing me information and notes of their experiences. Subsequent of the manual can be modified and expanded by inducing useful contributions. The information presented here is officer in good faith and without prejudice. I hope the manual gives others an insight into the instrument that they are playing, and hopefully the confidence, to undertake some of the basic maintenance tasks. My own instruments are `English’ but the information has proved equally valid on the other concertina systems that I have worked on.
A last philosophical thought: once a job is started &, it will never complete itself. You have no business in starting a job unless you intend to complete it both well and promptly. Concertinas are rare and valuable. We have a responsibility to care for them properly, for ourselves and for the Players of the future. Please be
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