LMMMM CBA

[KiwiSqueezer]

Further to my recent post about a B-system CBA with a version of the French 3 3 bass layout, it continues to throw up interesting features. It has 5 sets of treble reeds, where L and a straight-tuned M are in cassotto (I'll call the latter Mc), and M', M, M*, (where M' and M* are flat and sharp tuned Ms for triple musette). Treble switches give 13 voices: L, LM, LMc, LMM, LM*, LMMc, LMMMMc, MM*, M'MM*, M, M'MM*Mc, MMc, Mc.

As far as is known, it came from the Italian factory, made for Accordiola (but not a 'blue badge'), with this set-up, although the treble switches identify the M in cassotto with a legend appropriate for H.

Digging around the 'net, this reed complement seems to be quite unusual, but known, although I haven't been able to discover a clear reason for it. Accordiola made a few. Presumably it was done for a purpose - but what? Any information and ideas would be most welcome.

 

[Vladimir M.]

Hi,
The sound of a three-voice tremolo on an accordion (mussette = M´+M+M*) stands out most beautifully if all voices are equal (that is, all are outside the cassotto). However, most manufacturers make a compromise and the vast majority of accordions with three M-choirs have one of them in the cassotto. Then it depends on the overall construction of the instrument, the skill of the tuners and intoners, what the result is. I also have my accordion built like this: LMMMH (exactly: /L+M cassotto/ +M´+M*+H). But if you have an accordion with L+M in the cassotto and outside the cassotto anoter three separate M- voices for beautiful musette, then you have great possibilities for diversity in music: L+M in cassotto are perfect for jazz and swing, for example. And M´+ M+M* for "original" french mussette and waltzes, and M´+ M* for rustical/folklore. Truth be told, everyone got used to the H -voice, which became widespread after World War II. We already take it as a standard today, but any "H" can be not necessarily built in a five-voice instrument. But such unconventional solutions are always an admirable effort of accordion builders to get as close as possible to perfection... Even in the case of entertaining music and styles... From my point of view, it's an excellent solution for the sound disposition of accordion treble, congratulations on the super instrument...

Best regards, Vladimir

 

[KiwiSqueezer]

Thank you Vladimir, most interesting. If I understand you correctly, it seems that this is a most versatile instrument, and having no H set of reeds isn't much of a loss. With the set-up in this box, there are no less than 6 'tremolo voices' (LM'MM*, LM*, LM'MM*Mc, MM*, M'MM*, M'MM*Mc). Too much choice?
Apologies, I got confused when describing the voices in my original post (it's my age...). They are: L, LM, LMc, LM'MM*, LM*, LMMc, LM'MM*Mc, MM*, M'MM*, M, M'MM*Mc, MMc, Mc

 

[Vladimir M.]

Apologies, I got confused when describing the voices in my original post (it's my age...). They are: L, LM, LMc, LM'MM*, LM*, LMMc, LM'MM*Mc, MM*, M'MM*, M, M'MM*Mc, MMc, Mc

Perfect disposition:

• There is a separate M and its "counterpart" Mc - which is apparently tuned exactly the same, but because it is in a cassotto, its sound will be more softer,
• it's great that both combinations are available: LMc and the "louder" LM
• beautiful large (three-voices) "classic" musette: M´MM* and its combination with L, plus also with Mc
• duo-combination MM* and (softer) MMc
• ...

The possibilities for use in the playing are huge...

there are no less than 6 'tremolo voices' (LM'MM*, LM*, LM'MM*Mc, MM*, M'MM*, M'MM*Mc). Too much choice?

Maybe. But I would like to point out that if you had a H- voice instead of any M in your instrument, this voice (H) is almost never used solo and is (mainly) just added to another voice. I like it (this H-voice) on my instrument because I sometimes play church songs (especially LH is a nice imitation of the organ sound), and sometimes it's (or may be) suitable for jazz. But by substituting it for another M, you get unique sound quality.

The only thing I see as a bit more difficult is the need for a really good profi to tune this instrument. On the other hand, such accordions with quality reeds don't get out of tune that much...