My great uncle John Crawford done this for years we all miss John Crawford as he passed away he was fantastic at working on all types off accordens great to see you doing this thanks 👍
Great video! I have a few accordion repair projects on standby while I familiarize myself with what I am getting myself into and you’ve shown what a relatively simple process rewaxing reeds is. Thank you for giving me the confidence to press forward and get started!
Your videos are seriously helpful, I have an old accordion which also needs, the same work, I’ll endeavour to attempt it with the great help of your videos , many thanks 👍👍
Thank you for this video, I recently got an old accordion as well, and it needs some work. I'm certain it will be worth it, though. Have a great day, Rich!
Nicely done! Of the methods used to apply the wax, I like yours the most. I have a couple of questions (don't I always?) 1) On one of my treble reed banks there are two chambers (opposite one another) left open and they've inletted the base of the bank on these two chambers to open it up a bit; what might be the need for those two empty chambers? 2) Is it permissible to scribe a mark on the metal reed plate for identification/sorting? This is a great series, by the way. I've got it bookmarked and every morning I watch another episode.
Hi Mark There are sometimes empty chambers because one reed block might have less reeds than the other - the bit cut out of the base of the reed block may be there to accommodate part of the register switching mechanism . Good luck - I am following your progress and you are doing a great job !
@@richedwards9646Oh that makes sense, now. What about my second question on marking the plates with a fine scribe? Would that be okay? Thanks for your answers, it means a lot to me.
@@markjones7063 I wouldn't mark the reed tongues but would scribe on the reed plate - I normally scribe the reed plates with a sharp scribe and a ruler so I know which way up to put the reeds back in - hohner reeds have a "h " inscribed on one side of each reed which is very helpful 😄
@@richedwards9646 Yes, that's what I had in mind. I've assigned letter designations to the banks (a,b,c & d) on the wooden blocks and numbered the slots. No worries, I won't put any marks on the reeds themselves, only the plate. Good spot for mentioning that warning, however. Cheers and have a great afternoon. Thanks for viewing my channel, by the way.
Hi Rich. Sorry to bother you again Carlo carsini. All the mm reeds are below 440. Is it possible that the tremolo was set with one side less than 440 instead of slightly sharper ? Thanks Bob
Hi Bob Yes that's possible The best way to check is to first work out what pitch the bass side reeds are tuned to-this will give you a reference pitch to start from
Hi Rich, and thanks so much for this video; it’s great to watch the wax being painted on. I’ve just waxed a couple on an old ‘practice’ block and wondering if you bother to clean the brush between waxing sessions - or simply leave the wax on the brush, as it will all melt again at the next session once dipped in molten wax. If you do clean up: what do you use?
Hi Thankyou for your kind words When I have finished waxing I wipe the brush whilst the wax is still hot and that's it- when I use it next time any wax still on the brush will melt .
I've always used the brush method - I did a full restoration of a 1930s Italian 120 bass accordion - 7 years ago using this method - it still plays perfectly.
I just opened up my box out of curiosity just for a look at the reed blocks it appears there are long really thin stips of metal sitting on top of some of my valves are they also reeds I'm not sure what they are
