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            "value": "Lintophone system (made to special order of Charles Linton Gay, 1920s music hall performer, with a unique fingering system). Serial number 4108. Etched in scroll directly on end: 'Lachenal & Co. Makers, London WC.' 7.5\" AF [across front?] x 9\" long - slightly stretched hexagon shape. Very slightly raised chromed metal ends, full fancy frets inset to bevelled ebony ends. 48 keys: 24 each side, domed nickel, in six vertical rows of four each side, each 'row has four notes each an octave apart. Original clipped straps, stamped: 'Lachenal & Co, London', nickel screws. Eight-fold black leather bellows. Round-end steel reeds.",
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                    "value": "Linton\u2019s career is worthy of mention, since it illustrates just how these unusual fingering systems arise. Christened Charles Gay, Linton ran away with his father\u2019s ancient English concertina at the age of 15, and busked around London. He worked for the Hillier Piano Company and for Murdoch & Sons where he learned reed voicing and piano tuning, becoming a leading reed-organ voicer and tuner. He became dissatisfied with the scope of his old English, and added a palm strap and hand bar to free the little finger for playing, then fitted and voiced new steel reeds, rearranging the fingering system into four vertical rows of octaves, enabling chords of twelve or more notes to be played by laying his fingers across the rows of keys.  He resigned his tuning career for a career on the stage, firstly as \u2018Melody the Master Musician\u2019, and later as \u2018Linton\u2019s Concertina Band.\u2019 Not having the finance to patent and produce his \u2018ideal\u2019 concertina himself, he persuaded Lachenal\u2019s to produce two \u2018Lintophones\u2019 \u2013 Treble and Tenor \u2013 and to allow him twelve months\u2019 grace to promote the new system in his act before putting the patent on the market. Very soon, Charles Linton together with his wife, his two eldest sons and their wives, was producing revues and pantomimes, and toured England as \u2018Linton\u2019s Concertina Band\u2019 between 1915 and 1925. His showbills challenged any two men living to equal him in harmony produced on his one concertina, and he considered his solo playing on his \u2018Lintophone\u2019 equal to a sixteen-mad concertina band. (Information from F Linton-Gay, Charles Linton\u2019s youngest son [quoted directly from Neil Wayne\u2019s Catalogue introduction, vol. 2, p. 74].)"
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