Chin Switches: Shapes, Placement and Reed Bank Assignment

[tailwheelpilot]

Greetings, all!

I have the opportunity to specify the number of chin switches for an accordion, and would very much appreciate guidance from your experience.

I have no prior experience of using chin switches, thus know very little about the pros/cons of different shapes, placement, and recommended reed bank assignments. I realize that some of these might be a matter of personal taste.

Pictures of chin switches would be especially valuable to give me some idea of what to expect.

Many thanks,
Inder

 

[JerryPH]

Most are simply cylindrical in shape, and to be honest I don’t think there is any better. One thing that YOU need to do is to decide your favourite registrations that you want available to you via chin switch.

Also depending on the manufacturer, the number of available buttons can go from 1 to 7 or 9… the newer Horner Morino’s have something that I think is very cool… the ability to rotate the switch to any of 3 different positions to choose different affected registers… very cool!

 

[debra]

With chin switches I always prefer them to be in a logical order, meaning L on the leftmost switch, then LM, then LMH... and on the right M and MH.... But... that is assuming the regular switches are in the same order. An accordion manufacturer often prefers to place the chin switches in the same order as the regular switches to avoid crossing rods in the mechanism. (The only case I've seen where there was a mismatch was on the Pigini bass accordion which has 4 regular switches and 4 chin switches and on all the ones I saw before ordering one myself the order ewas a mismatch. I ordered mine with the specific request to have them in the same order.)
Even though Stradella only accordions typically have no chin switches and convertor instruments do, there is no technical reason why the Stradella-only ones could not have chin switches. A difference in shape may mean they can only fit fewer switches but they can certainly fit a few of them. People who would like chin switches often regret that their Stradella-only accordion doesn't have them, but they never thought of asking whether it could be done... and especially on a piano accordion adding them later is quite difficult.
The rotating (multi-position) chin switches I believe was a Pigini invention and patent, so only Pigini had them initially. But then Pigini bought Excelsior and started building the Hohner Morino and thus the Morino could also get them. I don't know through which agreement the Hohner Gola also got these multi-position switches (but I suspect it's because Pigini made that part of the Gola). That patent must have expired by now, so even though the Morino is no longer made by Pigini the new manufacturer (I believe that's IMC) can now also use such switches if they want.

 

[Dingo40]

The chin is a relatively sensitive part of one's anatomy: how do chin switches affect the chin ?

 

[JIM D.]

There is really no effect to the chin if you wear a beard.
They are really effective on Roland 8x models as they can be assigned to any feature
you desire.

 

[Dingo40]

A tough call for the ladies, JimD?

 

[Ffingers]

A tough call for the ladies, JimD?

...not all of them wilddog, not all of them

 

[debra]

There is really no effect to the chin if you wear a beard.
They are really effective on Roland 8x models as they can be assigned to any feature
you desire.

Actually... as a bearded man I have had occasional issues with a hair being pulled out while pushing a chin switch. When I play the AKKO bayan which has mushroom-shape chin switches there is no such issue. These mushroom-shape chin switches actually use an accordion button as their top, unlike the mushroom-shape chin switches on the old Pigini Sirius bayans and on the rare Hohner (Morino) Artiste accordions that had chin switches.

 

[tailwheelpilot]

Thanks to everyone who kindly responded with guidance for me. My apologies for the delay in responding, was working through options with (indirect) communications with the manufacturer in Italy.

I settled on three chin switches: bassoon, violin, and clarinet, these being the three registers I use the most.

I also appreciate the reassurance since I have a goatee beard, my chin will be relatively safe

 

[debra]

Congrats on making the choice. Not sure why you settled for three chin switches, but maybe it's a factory-specific limit for the model you chose. (Bugari for instance will only do 3 chin switches on their non-convertor models but will do 5 on a similar convertor model, afaik.)
Once you have the accordion, be careful to never put the chin switches under stress by pressing more than one at the same time. This won't happen while you play but it can happen during transport (in hard case or rucksack). It's best to make a chin switch protector (a piece of wood or plastic with holes for the switches, that you can hold in place with velcro). I have done so for all my accordions that did not come with a chin switch protector from the factory.

 

[petch]

It's best to make a chin switch protector (a piece of wood or plastic with holes for the switches, that you can hold in place with velcro). I have done so for all my accordions that did not come with a chin switch protector from the factory.

Could you share a picture please? I need to do something similar

 

[tailwheelpilot]

Congrats on making the choice. Not sure why you settled for three chin switches, but maybe it's a factory-specific limit for the model you chose. (Bugari for instance will only do 3 chin switches on their non-convertor models but will do 5 on a similar convertor model, afaik.)
Once you have the accordion, be careful to never put the chin switches under stress by pressing more than one at the same time. This won't happen while you play but it can happen during transport (in hard case or rucksack). It's best to make a chin switch protector (a piece of wood or plastic with holes for the switches, that you can hold in place with velcro). I have done so for all my accordions that did not come with a chin switch protector from the factory.

Thank you, Debra, for making me aware of the risks to chin switches. It would be great if you could share some pictures, please.

As to the number of chin switches, I was concerned about creating confusion with too many, so I just went with the three registers I use the most. I did not ask if more can be provided, so I'm not sure what the max number is that they could support.

I don't know how easy it is, or not, to select a register with one's chin while playing. So my original thought was to get just two for the tone chamber registers, bassoon and clarinet, and, at most, add violin as the palm switch. I'm told, however, that there can be structural constraints as to what is feasible for the palm switch, so I went ahead with three chin switches instead of two. I have asked for pictures of the size, shape, and placement of the switches, to get a better idea.

Best,
Inder

 

[Dingo40]

So many switches altogether could make an instrument hard to handle?
I remember owning a small digital photographic camera that was so covered in knobs and buttons it was almost impossible to hold without accidentally pressing one of them unintentionally and messing up the setting!
At times, I've had trouble enough not pressing the palm switch, in particular, or one of the bass couplers on some of my accordions.

 

[debra]

Thank you, Debra, for making me aware of the risks to chin switches. It would be great if you could share some pictures, please.

Here is a picture of my most "standard" chin switch protector.

This is for a standard 4-switch setup on a CBA. You can also see the velcro with which I keep it in place (because it isn't "firm" enough to not fall off otherwise). The "soft" velcro part you place between the switches on the accordion (so it is soft to the touch).

Let me explain about "standard". To transfer the movement of a chin switch to the regular register mechanism a "lever" is used. There are standard parts for a 4 switch (or 3 or 5) chin switch setup that goes on the inside, just under the chin switches you see on the accordion. That standard part contains the levers and essentially "transfers" the switch movement to a movement of a long rod that connects to the regular switch. On a piano accordion there is no room for that standard part containing the levers. (The lowest key is all the way at the edge, where on a button accordion the part with the levers goes. So on a piano accordion the manufacturer has to make something up to place levers somewhere under the keyboard.

Here you see how this is done on a Fisart (if I'm not mistaken. The levers for the bottom three switches in the picture are hidden under the wooden base plate. Below you can see the same on a Bugari.


And here you se a detail of a (broken) Victoria, where the levers are placed on top of the base plate instead of underneath. I'm not saying underneath is better than on top or the other way around, but I'm illustrating that every manufacturer has to "do their own thing" because the standard part for a CBA does not fit.


I'm showing this because as every manufacturer of piano accordions has to make up their own mechanism they just drill holes for the chin switches in locations that are convenient. There are no standard distances between the switches, and even between accordions of the same brand and model there are small differences that make the protector from one accordion not fit on another accordion. On the Fisart and the Bugari you can for instance also see that the rightmost chin switch is a bit further away from the other switches, because it has to go beyond where the black keys end.
With CBA the distances are standard. I have three button accordions, two Bugari, one Pigini (my bass accordion), purchased over a period of about 10 years, and the same chin switch protector fits on all three. I have made protectors for piano accordions, and none of the protectors fits on a different accordion than the one it was made for.

 

[debra]

So many switches altogether could make an instrument hard to handle?
I remember owning a small digital photographic camera that was so covered in knobs and buttons it was almost impossible to hold without accidentally pressing one of them unintentionally and messing up the setting!
At times, I've had trouble enough not pressing the palm switch, in particular, or one of the bass couplers on some of my accordions.

The chin switches are typically about 30mm apart (exactly 30mm on button accordions with the standard mechanism). This is far enough apart to not press two switches at the same time by accident (that puts extra stress on the mechanism and may break it).
If there is any downside of having chin switches (either many or just a few or even just one) it is that you may accidentally press a chin switch while looking down at the keyboard. But since accordion players should NEVER look at their keyboard while playing... that is thus never a problem.

 

[Ventura]

those photo's and explanation are enlightening.. i had no idea as
chin switches are simply not a part of my experience..

what i notice though, is this causes several places between the
outside and inside where (obviously) eventual hardening of
gaskets will cause some air leakage, which is an often worrisome
problem discussed here

it is reminiscent of the slider gasket on the Pirola?/Hohner linkage it seems
that i remember from another thread

shifter mechanics are varied, but it seems to me the simple pivot pins through
plate would hold up the best for air leakage as there is minimal holes/cuts that then
need to be sealed with some scheme of lubed leather or felting

i do believe that on the basis of air leakage over time alone, i would
probably now never consider an accordion with chin switches, though
to be honest i likely would never have the choice at all anyhow

learn something new every other day or so !

 

[debra]

...
what i notice though, is this causes several places between the
outside and inside where (obviously) eventual hardening of
gaskets will cause some air leakage, which is an often worrisome
problem discussed here
...

You are mistaken. All of this is on the "outside". No part of the chin switch mechanism causes a problem of air leakage between inside and outside. The only connection between the outside and inside is in the "box" that connects the register mechanism from the outside to the register sliders under the reed blocks on the inside. In the third picture that box can be seen clearly. There is another such "box" in the cassotto, not visible in the picture.

 

[Ventura]

thank you !

i am glad my impression was wrong.. it really looked like
those sliders would have to go through to make a connection
and had me worried !

yes i noted the 3rd pic was pivots (non-leaking) but i thought
that was the chromatic vs. piano key linkage being contrasted

 

[debra]

thank you !

i am glad my impression was wrong.. it really looked like
those sliders would have to go through to make a connection
and had me worried !

yes i noted the 3rd pic was pivots (non-leaking) but i thought
that was the chromatic vs. piano key linkage being contrasted

The third image mainly shows that the rods of the rightmost three chin switches disappear under the base board, where they connect to a lever that makes the levers turn that you see sticking out of the base board further along the way. There are actually four levers sticking out, the fourth being that of the palm switch. The pictures main illustrate how clumsy the chin switch construction on piano accordions is, and how that causes the distances between chin switches to vary.