Steve’s melodeons: I mainly use Hohner Club 2/ Erika 2.5 row boxes, dating from the 1930s and variously restored by Theo Gibb, Martyn White, Rees Wesson and Paul Flannery. In order to play in keys that are ideal for the singer, I have boxes in D/G, C/F, E/A, A/D and Bb/Eb. I retain the original ‘club’ bass layout but use standard right-hand tuning. I also own a modern Saltarelle Nuage in D/G which I use with dance bands, and two of Rees Wesson’s one-row Windjammers in C and D with Hohner reeds.

Steve’s mouth organs: I use only Hohner Special 20s and Marine Band Classics/ DeLuxes/ Crossovers. English dance music rarely works well in 2nd position and I retune most of my harps so as to facilitate 1st and 4th position playing. I sometimes valve my harps to allow otherwise unobtainable notes (a Brendan Power invention) and only use proper chromatics (Herings) as a last resort. Henry Slim replaces single dead reeds, the one repair that is currently beyond my skills.

Steve’s banjos: I use banjo only for song accompaniment as a change from the free reeds of my squeezeboxes. I use a basic clawhammer technique, with lots of drop-thumbing. My main banjo is a 1930s open-backed Vega 'Little Wonder' pot with a Fibreskyn head and modern 5-string neck. I also own a modern US-made Deering Vega 'Little Wonder' with a mylar head, and a modern Stacey Custom with a Renaissance head.  Steve Noon, Dave Stacey, Helmut Rheingans and Andy Perkins have maintained these. I use Eagle-Newtone strings.

Steve's pipes: My pipes were made over 20 years ago by Jon Swayne. They are mouth-blown in the key of G, with plastic reeds and a chanter that works roughly in the manner of central French cornemuses with 'half-closed' fingering and two thumb holes. I have a set with just a single bass drone (which spares my tinnitus) and a set with 3 drones (which does not).

Annie's jew's harps: are supplied by the Dan Moi company of Leipzig and are of the pitched variety which make it feasible to follow the chord progression of melodies.