debra post_id=55842 time=1520152943 user_id=605 said:
wirralaccordion post_id=55826 time=1520099069 user_id=2229 said:
...
I am not sure that I understand what is meant by an LMM with no tremolo. Would this not be the same as LM if the two MMs were tuned to be the same frequency?
MM with no tremolo is mostly (but not exclusively) used on cassotto instruments (most with convertor). The M in cassotto has a different sound than the M outside of cassotto so you have different sound possibilities like LM with M in cassotto versus LM with M outside of cassotto.
MM without tremolo produces more sound volume than a single M and so in LMM without tremolo the M is emphasized more versus the L than with an LM register.
Its not just that: a nulltremolo is sort of a chorus effect: the phase relation between the two reeds is not completely rigid so the sound quality is a lot more pliable and expressive than that of a single reed.
I think I once had a registerless 2-reed Rubin 6 bayan here (the only registration was the converter switch) with that kind of setup. The problem, of course, is that as soon as it is slightly out of tune, slow scales become quite noticeably irregular in sound quality. Stronger tremolo variants deteriorate quite more graciously over time.
I get somewhere close to that nulltremolo effect on my LMMM accordion by choking the tremolo reed sliders off on MMM until there is just more left than with M on its own.
Conversely, the change from cassotto to noncassotto on my instrument is done by changing from L (the only reed in déclassement) to M and adapting the octave. Since my M reaches almost as low as other peoples L and my L reaches higher than most peoples M, this is not just an academical option but rather something I have to do all the time.
Of course another reality is that with each instrument sounding differently you get many more sound possibilities in an ensemble with different instruments... but once they are all mixed together that richness disappears with generic arrangements and can only be brought out in arrangements made specifically for the instruments that are in the mix.
This can in some respects work better by using unsuitable music: we played an arrangement of the Miss Marple theme for salon orchestra where the cello part reaches down to A2 which is
exactly the lowest note of my accordions MMM range, and the MMM in this low range sounds fabulous on this instrument (the corresponding MM on the Morino Artiste VID is considerably less endearing in that range). Air usage may be quite noticeable for accordion, but then you need to change bow direction on a cello even more often. So by having material
not arranged for accordion orchestra and thus already streamlined to standard sound qualities on standard ranges, I actually got a better deal out for my instrument than otherwise likely.