Interesting accordion...

[Dingo40]

Manufactured with single reeds that produce the same note when working in either on the pull or the push, whereas the general current technique is to have two discrete reeds (one working in each direction separately).
See here:


Wonder if it could catch on?

 

[Tom]

Super cool find Dingo, thanks. I think we had some discussion about why this technique didn’t catch on but I don’t remember. They did break two rules though - blowing into the reeds and not noticing which bellows pin went where. I guess if it’s ok for Dr. Helmi and Michael Bridge, it’s ok for us too. Just sayin….

 

[JerryPH]

Super cool find Dingo, thanks. I think we had some discussion about why this technique didn’t catch on but I don’t remember. They did break two rules though - blowing into the reeds and not noticing which bellows pin went where. I guess if it’s ok for Dr. Helmi and Michael Bridge, it’s ok for us too. Just sayin….

Actually only one rule... the not blowing into it. If you noticed, she had a small pink sponge that she carefully noted which pins were front back and what positions.

It would surely lower the costs of manufacturing reeds and accordions using this method, especially the "one size fits all notes" with only a small brass weight of different sizes that was likely "shaved" to tune each note.

Lots of design advantages, but I think the issue was longevity/reliability. Those tongues had to vibrate a lot more and were more prone to breaking. I wonder if that is something that could be solved using more robust modern metals?

 

[Tom]

Actually only one rule... the not blowing into it. If you noticed, she had a small pink sponge that she carefully noted which pins were front back and what positions.

It would surely lower the costs of manufacturing reeds and accordions using this method, especially the "one size fits all notes" with only a small brass weight of different sizes that was likely "shaved" to tune each note.

Lots of design advantages, but I think the issue was longevity/reliability. Those tongues had to vibrate a lot more and were more prone to breaking. I wonder if that is something that could be solved using more robust modern metals?

Ah thanks Jerry, I didn’t notice that on the pins.

 

[Rosie C]

Interesting! I like that there are no valves on the reed blocks - no valves needing changed in 20 years.

 

[tcabot]

It would surely lower the costs of manufacturing reeds and accordions using this method, especially the "one size fits all notes" with only a small brass weight of different sizes that was likely "shaved" to tune each note.

That thing looks severely over-engineered. Was it designed in Germany by any chance?

Yeah, it's not like it's going to affect dynamics, is it? Oh wait, it will... Who need dynamics anyway!

Reed size standardisation has already been done shortly after ww2. One size catering for 4-5 semitones. Take it further than that and performance suffers.

Does this reed design maintain pitch both in & out at the whole dynamic range? How exactly are you going to tune it, and will scratching one side change the pitch stability on push vs pull? Will work for Scottish musette anyway I guess.

 

[oldbayan]

I always thought of something like that! I suppose the manufacturing cost of those reed plates is way higher than the good old double reeds kind, and a lot more complex.

 

[debra]

There is (at least) one problem with this design: the width of the reed plate is about 150% of that of a regular reed plate (for the same note). Maybe they could make it narrower, I don't know.
And another issue many people do not consider is that when you have valves you can play with how the pressure of these valves varies with air pressure so as to compensate for the natural tendency of the frequency to drop as you play louder.

 

[JerryPH]

I'm certainly no engineer, but

That thing looks severely over-engineered. Was it designed in Germany by any chance?

I think it is an Italian designed accordion.

Yeah, it's not like it's going to affect dynamics, is it? Oh wait, it will... Who need dynamics anyway!

The little that I heard Michael Bridge play did not appear to affect dynamics or on push/pull changes.

Reed size standardisation has already been done shortly after ww2. One size catering for 4-5 semitones. Take it further than that and performance suffers.

In what way do you feel? it's obvious that it was well quite tuned though the entire keyboard was not tested in all registers.

Does this reed design maintain pitch both in & out at the whole dynamic range? How exactly are you going to tune it, and will scratching one side change the pitch stability on push vs pull? Will work for Scottish musette anyway I guess.

For sure this will maintain pitch in both directions, it's the same reed, same weight same sie same counterweight, and when they had the reed block out it was easy to see that it is not the reeds that are scratched but the pitch is controlled by the weight at the end of the reed tongue, scratching that changes pitch.

In just thinking things over, I thought of one big disadvantage... changing pitch higher is no issue, just remove material, but how to lower pitch? Adding material is not easy, so what, change the complete weight to something more and then shave off until one reaches the proper pitch? Not as easy as a traditional double reed setup.

 

[Alan Sharkis]

I’m wondering why only a bass block was taken out and shown in detail.

 

[Dingo40]

I’m wondering why only a bass block was taken out and shown in detail.

I think there's nothing more than a time limitation.
In the video, Dr Helmi actually offered Michael the choice of either a treble or a bass reed block: he opted for bass.