Techniques

No. 7: A 47 Button Hayden Duet and Leather Case

Introduction

My latest instrument is a very special custom 47 button Hayden duet. I also made a bespoke hard case to store and transport it.

Here is a demonstration of it being played by its owner, Israel Sánchez. The set has two tunes. The first is a waltz/bourree composed by José Climent. The second is a traditional pasacalles from the Aliste region of Spain.

Specification
  • 47 buttons (+ air lever), based on the standard 46 button Hayden layout with a few small customisations.
  • Six sides, 6 1/4″ wide.
  • Seven fold black goatskin bellows with 1 1/8″ deep cards and custom bellows papers.
  • Traditional concertina reeds in aluminium frames for weight saving, normal scale on the left hand and long scale on the right (the same distribution I previously used successfully on Holden No. 4).
  • 1/5th comma meantone tuning, with A as the root note.
  • Laminated maple radial-chamber tapered reed pans with two inner chambers on each side.
  • Solid purpleheart action box sides with decorative stripes.
  • Quilted maple laminated raised end plates with decorative striped border.
  • Peacock Oil wood finish.
  • 6mm diameter glass buttons.
  • Green button bushings.
  • Custom boxwood hand rests and thumb pads with custom hand and thumb straps.
  • The first instrument to feature my new etched brass maker’s plate.
  • 2mm button travel (giving 4mm pad lift at a 2:1 action lever ratio).
  • Weight: 1440g.
  • Leather covered hexagonal clamshell case with suede covered padded interior and decorative shoulder strap.

A Müller Conversion

My latest project was to make a pair of new replacement action boxes for a Wheatstone model 21 English concertina, to give it a keyboard and handrails/straps to the specification developed by Henrik Müller. The conversion was done in a manner that allows the instrument to be easily returned to its original form if desired. As I write this post, Henrik is working on an article for the Concertina Journal that should answer the question of why one might wish to mess with improve upon Charles Wheatstone’s nearly two-hundred-year-old design.

Turning End Bolts

On my first instrument, the ends were held on with commercially-made stainless steel allen-head M3 screws. They work fine, but I felt they gave the instrument a bit of a modern, almost industrial look.

I am currently working on restoring a vintage Lachenal Anglo for a client, and the end bolts and captive nuts are missing or badly worn due to past over-tightening (probably from trying to cure leaks that were actually due to internal structural problems). Needless to say, it wouldn’t have been appropriate to replace them with modern screws. Rather than try to source a better second hand set from a parts dealer, I decided it was time to figure out how to make my own new brass end bolts from scratch.