Hohner Atlantic with Cassoto

[boxplayer4000]

Presently for sale on eBay. I know the Atlantic came in many guises. It might well be a memory thing but I haven't come across a cassoto version before.

HOHNER ATLANTIC IV MUSSETTE | eBay

<p dir="ltr" style="margin-top:0; margin-bottom:0;">HOHNER ATLANTIC IV MUSSETTE 120 bass</p> <p dir="ltr" style="margin-top:0; margin-bottom:0;">For parts or repair </p> <p dir="ltr" style="margin-top:0; margin-bottom:0;">11+3 registers </p> <p dir="ltr" style="margin-top:0...

www.ebay.co.uk

 

[JerryPH]

This is the Atlantic deluxe version, and with musette tuning on top of that, quite rare. However, this particular one is a very sad story. Indeed this model came not only with Cassotto, but hand made reeds. In excellent condition, it would be easy to fetch 5-10 times more than the listing (1000-1500 US dollars easily), however, this particular one is well and completely abused and neglected.

The amount of work needed to make this right is nothing short of a complete rebuild and in all fairness, could easily exceed it's value well before the restore is even completed.

 

[boxplayer4000]

Thanks Jerry.
Interesting. Your location makes me wonder if the model wasn't aimed at the North American market. I haven't been aware of one on this side but I'll wait and see if there are anymore responses.

 

[debra]

Very rare accordion indeed. I have never seen such an accordion. And as it is LMMH it definitely is not an Atlantic Musette. It is possible that this is a "Frankenstein" accordion made up by combining parts from different instruments.
As far as I know the "Atlantic with cassotto" was actually the Imperator. But it's never too late to learn something new... Very sad that the accordion is in bad shape and not usable.

 

[boxplayer4000]

I agree. The reeds and valves appear to be in poor condition. However I have found reeds to be generally tough despite their delicate precision construction and with patience can mostly be restored.
The badge on the accordions bass end (which looks authentic) states it is an 'Atlantic 1V Musette' even though the couplers suggest it is double octave tuning. Manufacturers have routinely used the term 'musette' to describe both LMMH and LMMM reed arrangements. Perhaps Hohner could throw some light on the matter.

 

[debra]

I agree. The reeds and valves appear to be in poor condition. However I have found reeds to be generally tough despite their delicate precision construction and with patience can mostly be restored.
The badge on the accordions bass end (which looks authentic) states it is an 'Atlantic 1V Musette' even though the couplers suggest it is double octave tuning. Manufacturers have routinely used the term 'musette' to describe both LMMH and LMMM reed arrangements. Perhaps Hohner could throw some light on the matter.

Anything is possible, but afaik Hohner only named the Atlantic IV "musette" to indicate the LMMM configuration. The treble side of this accordion looks identical to (some version of) the Imperator IV, so I would not be surprised if this accordion is really a mix of an Atlantic IV (musette) bass side and an Imperator IV treble side.
The only other possibility I see is that this might have been a prototype that never went into production as an Atlantic (but maybe then turned into the Imperator). I have seen this happen with Hohner. A friend of mine has a very nice Artiste VI S with cassotto, but the Artiste VI (any series) never went into production with a cassotto, which is a great shame as this one with cassotto sounds so much nicer than the production Artiste VI without cassotto...

 

[JerryPH]

Thanks Jerry.
Interesting. Your location makes me wonder if the model wasn't aimed at the North American market. I haven't been aware of one on this side but I'll wait and see if there are anymore responses.

I don't know much about them beyond what is in the Hohner documentation, but last year Keith Anderson of Anderson Accordions asked me to bring him an accordion from Kingston Ontario to Burlington as a favour (I was really passing by and was going to see him, so it was no chore at all). I was happy to do so... only found out later after Keith showed me, it was a Hohner Atlantic deluxe, a very nice accordion indeed... I never asked if it was the Musette version or not. We talked a lot about the details and a touch about the good fortune he had in finding this one.

I don't think the Musette market is very strong in Canada, in general, they are harder to sell... the UK is where the Musette tune really thrives.

It apparently sold within 1-2 days later, so I never had a second chance to look at it.

 

[boxplayer4000]

Jerry,
The Atlantic deluxe was probably LMMH configured. If so it was 'musette' by some definitions of the word. You're right; musette is probably more popular here but I did by an Atlantic deluxe some years ago just to get the experience of tuning the piccolo 4' reed. The sound of the L, M and H reeds all in line was very pleasing and I played it often before passing it on.
Hohner production in their heyday never ceases to amaze. The variety and modifications they seemed to seamlessly introduce to a model production line is a constant source of wonder and interest and the model at the head of this thread might be an example.

 

[Ventura]

i am curious now, as the Hohner website still apparently
offers 2 models of Atlantics

has anyone seen them ? do they have any relationship in any way
to the metalbau originals ? or are they Atlantics in name only ?

i HAVE seen a modern Morino,, and it is just a really nice
(way overpriced) accordion now, but has no real physical
connection to Morino manufacturing specs or original design tech
of yesteryear as far as i could tell
(they use bellows pins now, for example)

the hohner website seems to have a ton of different Morino models
available including a Slavko, so someone still cares about what
a German might want in a Piano accordion !

 

[debra]

i am curious now, as the Hohner website still apparently
offers 2 models of Atlantics

has anyone seen them ? do they have any relationship in any way
to the metalbau originals ? or are they Atlantics in name only ?

i HAVE seen a modern Morino,, and it is just a really nice
(way overpriced) accordion now, but has no real physical
connection to Morino manufacturing specs or original design tech
of yesteryear as far as i could tell
(they use bellows pins now, for example)

the hohner website seems to have a ton of different Morino models
available including a Slavko, so someone still cares about what
a German might want in a Piano accordion !

The last Morinos that were truly German and following Morino's design were the M series (D series for CBA). Everything after that was/is Italian.
About the Atlantic, I don't know. I have not seen a recent one because you have to be somewhat "strange" (for lack of another polite word) to want an Atlantic with the very sharp tone... Hohner would really shoot themselves in the foot if they abandoned the metalbau, because it is the cheapest construction type I can imagine, and has the potential for a huge markup and thus profit, provided anyone wishes to still buy them...

 

[boxplayer4000]

For many here in Scotland those who couldn't rise to or afford a Morino (or Gola) would gladly settle for an Atlantic. It was by no means looked on as an inferior second or third choice. Many professional recordings were made using them and the sharpness of the musette suited many. The fact they were made with metal I don't recall being of any particular interest or much discussed. Instead they were regarded as a strong reliable instrument which held their tune well and in many cases outlasted the owner.
Every manufacturer constantly looks at improvements in methods of manufacture, material etc. to save a few pennies. Suggesting that using metal is somehow underhand is a bit dis-ingenuous. A risk perhaps but time has shown that it was risk worth taking given the subsequent success of the Atlantic. I might change my mind when the metal is replaced with plastic!

 

[debra]

For many here in Scotland those who couldn't rise to or afford a Morino (or Gola) would gladly settle for an Atlantic. It was by no means looked on as an inferior second or third choice. Many professional recordings were made using them and the sharpness of the musette suited many. The fact they were made with metal I don't recall being of any particular interest or much discussed. Instead they were regarded as a strong reliable instrument which held their tune well and in many cases outlasted the owner.
Every manufacturer constantly looks at improvements in methods of manufacture, material etc. to save a few pennies. Suggesting that using metal is somehow underhand is a bit dis-ingenuous. A risk perhaps but time has shown that it was risk worth taking given the subsequent success of the Atlantic. I might change my mind when the metal is replaced with plastic!

The sharp tone of the Atlantic must have pleased some people, but all the Atlantic IV (not N) owners i know played with the Sordino always closed to make it less sharp. The Atlantic does keep its tuning pretty well (not worse than other accordions certainly) and that may partly be thanks to it using half-size reed blocks. Any warping that may occur in reed blocks (a rather common issue in older accordions) has much less effect when the reed blocks are only half the length of "normal" reed blocks.
For some years (long ago) my wife played a Hohner Verdi V and I played an Atlantic IV N. The sound of the Verdi (with wooden case and full-length reed blocks) was much less sharp than that of the Atlantic IV N. (The N is particularly nasty as it does not have a sordino.) Each accordion listener and player of course has their own preferences.
Of course the metal case makes an Atlantic a strong instrument (bordering on indestructible). When accordions get abused a lot (like dropped...) that is certainly a very valuable property of the instrument.

 

[jozz]

Many professional recordings were made using them and the sharpness of the musette suited many.

a favorite of mine!

 

[Tom]

a favorite of mine!

Great tune, never seen this version, hence not the accordion. Anyone here sing Paul Simon tunes out or busking? It's a goal.

 

[boxplayer4000]

The Atlantic's treble reed blocks being made in two parts was another innovative idea, reducing the chance of them warping. It's likely this had an effect on the reed sound as well as the reed vibrations absorbed by the wood were reduced.

 

[Vladimir Rudmitsky]

I don't know much about them beyond what is in the Hohner documentation, but last year Keith Anderson of Anderson Accordions asked me to bring him an accordion from Kingston Ontario to Burlington as a favour (I was really passing by and was going to see him, so it was no chore at all). I was happy to do so... only found out later after Keith showed me, it was a Hohner Atlantic deluxe, a very nice accordion indeed... I never asked if it was the Musette version or not. We talked a lot about the details and a touch about the good fortune he had in finding this one.

I don't think the Musette market is very strong in Canada, in general, they are harder to sell... the UK is where the Musette tune really thrives.

It apparently sold within 1-2 days later, so I never had a second chance to look at it.

I think I might bought the accordion you were talking about. Is the Hohner atlantic you are talking about has "Therese" written in blue on the back of the keyboard; and the register buttons are black.

 

[JerryPH]

I think I might bought the accordion you were talking about. Is the Hohner atlantic you are talking about has "Therese" written in blue on the back of the keyboard; and the register buttons are black.

That would have been an interesting coincidence.

I did not open or touch the case when I picked it up for Keith, he later told me what it was, so I never saw more than a glimpse of the accordion in the case, I did not see the back. It was the black version with the white registers and gold accents.

 

[Vladimir Rudmitsky]

That would have been an interesting coincidence.

I did not open or touch the case when I picked it up for Keith, he later told me what it was, so I never saw more than a glimpse of the accordion in the case, I did not see the back. It was the black version with the white registers and gold accents.

Oh, the one you were talking about is another one Keith has. I believe I took the bass register off from that for parts to repair his other atlantics including mine.

 

[JerryPH]

OMG, really?? That was an awesome box, fairly rare and in REALLY good condition, event the straps were like new... I hope that specific one wasn't used for parts.