Ventura
Been here for ages!
reaponse to Thomas N from "best" accordion discussion
tbh i have found myself doing more and more Acoustic than Digital the last few years
my 960 was my primary gigging box for almost 2 decades, midi'd to a
rolling rack of assorted Synth modules including a Drawbar unit from Orla...
it was great for Big Band and Jazz, Latin and Rock n Roll as it has a tweaked
incredibly fast short throw key action and my Synths gave me everything
from Chad Baker leads to Carlos Santana's Black Magic Woman
i shifted away from it after my Gig style moved to MIDI arrangements,
which allowed me to do more legit Ethnic orchestrations and for
which my Gola was better suited as an all around versatile choice
(Korg devices designed and built in Italy for MIDI playback)
then one year Roland hired me to help them re-boot the FR7 in the USA
and i swapped it into my setup for the Gola pretty seamlessly
(after i spent an intense month re-programming it) that was the year
the Coupe Mondiale was in the USA and i got Roland a booth there
at the last minute thanks to Faithe Deffner's influence
(where i met Sam Falcetti and C. Pez among others who would become
big stars for Roland in sales and shows)
a bit later i re-created the "Cordovox" using an FR3 with CME wireless MIDI
and Line 6 Wireless Audio controlling a new Rack built with Roland modules
( Drawbars.. digital mixer... etc) focused on Jazz and Rock sounds and some
support for French (as Maugein was particularly well programmed into
the genes of the FR3) and i used that in shows for Roland for awhile
(which was how i met Rose at Roxy's Music, and signed her up as a Roland Dealer)
nowadays my FR3 and white FR7x are kind of lonely as i am trying to wear out
some of my Accordions before my time is up !
on German gigs an Atlantic IV and an antique grey small Hohner (and the Gola)
on Italian gigs a Scandalli (that came via the Soviet Block) with Stainless Steel reeds
for French my re-configured Giulietti and if MIDI is required, an Excelsior 910 LMMM tuned strongly Meusette
for Jazz the 960 and a Victoria Built quint bass bootleg (also tuned MM unison)
and strolling ethnic and when showing off, the FisItalia Woodie
for outdoor inclement weather gigs... an Excelsior from the 1960's (the box i used at the Pentagon after 9/11)
for Wine festivals a brilliant red Serenelli (built by SettimoS in the Scandalli factory)
for wedding chapel use, a cream color beauty PanCordion/Crucianelli in faux Oak
when strolling Nursing Homes my 3/4 size blue aluminum era 4/4 Scandalli
and i am still gradually refurbing a classic post war Dallape and pre-war Galanti and Excelsior
and play(ed) them at Maryland Accordion Club meetings as i whip them into better condition
that is my hands on go-to list nowadays.. i should also mention i have the luxury of having
an actual huge old Barn behind the house and it is mostly filled with Music stuff
ciao
Ventura
(others may feel free to use this thread for stuff like this or other chats that stray from some specific thread)
tbh i have found myself doing more and more Acoustic than Digital the last few years
my 960 was my primary gigging box for almost 2 decades, midi'd to a
rolling rack of assorted Synth modules including a Drawbar unit from Orla...
it was great for Big Band and Jazz, Latin and Rock n Roll as it has a tweaked
incredibly fast short throw key action and my Synths gave me everything
from Chad Baker leads to Carlos Santana's Black Magic Woman
i shifted away from it after my Gig style moved to MIDI arrangements,
which allowed me to do more legit Ethnic orchestrations and for
which my Gola was better suited as an all around versatile choice
(Korg devices designed and built in Italy for MIDI playback)
then one year Roland hired me to help them re-boot the FR7 in the USA
and i swapped it into my setup for the Gola pretty seamlessly
(after i spent an intense month re-programming it) that was the year
the Coupe Mondiale was in the USA and i got Roland a booth there
at the last minute thanks to Faithe Deffner's influence
(where i met Sam Falcetti and C. Pez among others who would become
big stars for Roland in sales and shows)
a bit later i re-created the "Cordovox" using an FR3 with CME wireless MIDI
and Line 6 Wireless Audio controlling a new Rack built with Roland modules
( Drawbars.. digital mixer... etc) focused on Jazz and Rock sounds and some
support for French (as Maugein was particularly well programmed into
the genes of the FR3) and i used that in shows for Roland for awhile
(which was how i met Rose at Roxy's Music, and signed her up as a Roland Dealer)
nowadays my FR3 and white FR7x are kind of lonely as i am trying to wear out
some of my Accordions before my time is up !
on German gigs an Atlantic IV and an antique grey small Hohner (and the Gola)
on Italian gigs a Scandalli (that came via the Soviet Block) with Stainless Steel reeds
for French my re-configured Giulietti and if MIDI is required, an Excelsior 910 LMMM tuned strongly Meusette
for Jazz the 960 and a Victoria Built quint bass bootleg (also tuned MM unison)
and strolling ethnic and when showing off, the FisItalia Woodie
for outdoor inclement weather gigs... an Excelsior from the 1960's (the box i used at the Pentagon after 9/11)
for Wine festivals a brilliant red Serenelli (built by SettimoS in the Scandalli factory)
for wedding chapel use, a cream color beauty PanCordion/Crucianelli in faux Oak
when strolling Nursing Homes my 3/4 size blue aluminum era 4/4 Scandalli
and i am still gradually refurbing a classic post war Dallape and pre-war Galanti and Excelsior
and play(ed) them at Maryland Accordion Club meetings as i whip them into better condition
that is my hands on go-to list nowadays.. i should also mention i have the luxury of having
an actual huge old Barn behind the house and it is mostly filled with Music stuff
ciao
Ventura
(others may feel free to use this thread for stuff like this or other chats that stray from some specific thread)