Schweik:"most of the Jones I have come across,have been rather slow,possibly because they have had broad reeds,Neither did I notice that they had a particularly special tone,but thats only talking from my own experience".

RE:May be so, and maybe that also is a backside from the aim achieving a softer tone, I don't know, but my comment was meant firstly to express appreciation of the mere ambition to develop or improve the *tone* rather than the power of the instrument.
My impression is that the 'Wheatstone-style concertina' ( I mean all models emanating from the Wheatstones in England originally, contrary to the 'Uhlig-style concertina' emanating from Uhlig in Germany) is appreciated primarily in *England* or earlier "The Commonwhealth" and that this may not be primarily for its *tone* but for its cultural settlement.In Germany where there are both single-reeded and double-reeded ( or more) Konzertinas the later are a lot more appreciated and in the whole World accordions come about almost exclusively as 2,3 or 4-reeded. Does this say something about the general esteem for
different squeezebox *tone* character? I beleive so, not least since I find the typical single-reeded concertina-tone *dry* compared to *wet* sound by Musette accordions, Melodeons, and partly Bandoneons.

It definitely is not as easy to play sweetly or to 'brake the heart' of a listener by playing concertina as it is with piano, violin, guitar,trumpet,harp or other more harmonious instruments.I gave that up for good myself after a couple of years with concertinas while it might work with an accordion or harmonium - reeds all the same.

So - if a contemporary concertina maker would qualify at all for being one of my favourites it would likely be someone daring to produce one with 2-3 reed sets, either 2, with one an octave lower like Bandoneon, or 3 with an additional reed set duplicating the higher, but in "wet" tuning.