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Non-converter free bass, and compact with cassotto?

stickista

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2 separate questions…
Do either of these exist?
- A dedicated free bass accordion… no stradella? (C CBA, not Bayan)
- A compact accordion with a cassotto chamber?
 
Hohner has models that are only freebass and I’m sure other brands make them. Compact may be a relative term but Liberty Bellows has a section of their website for models they consider compact with tone chambers.
 
Dedicated free bass accordions exists, and even still appear in the catalog of some manufacturers.
A "compact" accordion is often called a "ladies" model, and has narrower keys than a "full size" model. They also come with cassotto.
Some manufacturers list "compact" or "ladies" models separately. I have seen people play them. Other than being a bit more compact (and often a bit lighter) they work and sound mostly like a full size model.
 
I think we're on the same wavelength when it comes to accordion specs :cool:

I've just tried Moschino for the first time a few days ago and I wrote about it in another thread - if you are interested in free bass and don't need a converter, get the 8-row moschino. You won't regret it. It's incredible. I've had a brief go at bayan, quint and MIII before trying moschino and I have absolutely no interest in getting anything apart from the 8-row any more.

If you do want a moschino, you'd probably need a custom-built box, in which case you should be able to spec a compact accordion with cassotto.
Otherwise, it depends on what you mean by compact. There's 3-voice [L]MH boxes, or Stradavox with [LL] if memory serves me right.

There's also bandoneon, but I've got a feeling that you already know about that one.
 
I was seriously considering picking up one of these, but I just don’t have faith any more in online ‘pig in a poke’ roulette for sound. I also believe that most Harmoneons are “C” system, but have the low base at the bottom.

Maugein made this interesting box in the past, and at one point I had communication with them saying they’d be willing to dig out the plans and make one for a reasonable price.
 

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2 separate questions…
Do either of these exist?
- A dedicated free bass accordion… no stradella? (C CBA, not Bayan)
- A compact accordion with a cassotto chamber?
We have about 12 freebass only c-system accordions at work, I'd guess around 30 years old and made by Bugari, Pigini, Weltmeister or Hohner. The biggest of these go down to G two octaves below middle C on the left hand. They are light as feathers.

I personally think as the accordion matures as a classical instrument it will end up as a freebass only accordion with just one reed if great quality in each hand but a big note compass i.e. a much simpler and lightweight instrument. I'd give it two or three generations though!

If I were a rich man I'd commission such and instrument now. It's a shame they don't seem to be production models at the moment as any one off commission would be serious money.
 
Wow, that's a lovely timbre! Is that the instrument itself, or recording/post processing magic?

I personally think as the accordion matures as a classical instrument it will end up as a freebass only accordion with just one reed if great quality in each hand but a big note compass i.e. a much simpler and lightweight instrument. I'd give it two or three generations though!
Exactly the same words were written by S.Chapkiy in his free bass tutor book in 1978.
I'm afraid the lack of general population's interest in the accordion + very high costs of manufacturing + lack of interest in free bass among accordionists mean that fb will remain niche.
 
I'm afraid the lack of general population's interest in the accordion + very high costs of manufacturing + lack of interest in free bass among accordionists mean that fb will remain niche.
Based on the musical evidence and direction I see things taking in my own sphere and experience of the instrument, I don't agree.

Time and maturation has changed many instruments over history. Remember the accordion is still a relative new commer.
 
If that means mirror image of right hand I want one...with preferably only two reeds right LM....what do ya know... appreciated
 
You guys are all just great in my book regardless of whether you want to keep or drop Stradella. Indeed, the accordion is many things to many people. Now, I am fully aware that I am in the company of very gifted individuals here, who are much smarter than me, but for what it's worth (and I'm certainly not Nostradellus:ROFLMAO:), here's what I think...

Having spent time playing two types of converter accordion; a Quint converter and a Chromatic converter, I think it is only Quint converter that is truly at home in a converter instrument because it is a by-product of Stradella bass. We must realise Quint was not 'designed', it just occurred when the inventor of this converter mechanism released the notes from the prefixed chords.

I will explain briefly:

Take one section of Stradella bass buttons along the C rows:

Row 1: E (Counter bass)
Row 2: C (Fundamental bass)
Row 3: C major
Row 4: C minor
Row 5: C 7th
Row 6: C dim.

When this was converted by pressing the switch to Quint free bass, air was simply routed to certain notes that exist in the chords already:

Row 1: E (counter bass) unchanged from BASS octave
Row 2: C (fundamental bass) unchanged from BASS octave
Row 3: E (taken from C major chord) unchanged from TENOR octave
Row 4: C (taken from C minor chord) unchanged from TENOR octave
Row 5: E (taken from C 7th chord) unchanged from ALTO octave
Row 6: C (taken from C dim chord) unchanged from ALTO octave.

Good, bad or indifferent this is the only "natural" converter bass system ever created and that is how the basic 3 octaves of Quint emerge, when the converter is applied across the range of a 120 bass accordion.

By contrast the chromatic converter design was based on the right hand keyboard layout of the button accordion. The chromatic sequences would never occur in the stradella chords layout naturally. The converter adds 'new notes'. It took A LOT of engineering to make the mechanism work well in a converter system and I understand they are still at times prone to jamming.

The chromatic free bass is not at it's best constrained within a converter mechanism. It had to be reduced to 4 rows as the Stradella single notes own rows 1 and 2. Also, the thumb which is extensively used on the RH of the button accordion is only awkwardly but frequently used on row 1 on a chromatic converter (unless there are steps added).

I think chromatic free bass would be much better employed on a free bass only accordion and would more truly mirror the RH that way. The LH is a shadow of the RH within the constraints of a chromatic converter. Converter systems are not perfect and never were, that's why Mr Moschino and many others tried to create better free bass only alternatives over the years...

For me, I'll stick to the converter accordion and am perfectly happy with both Quint and Chromatic versions. Stradella and many converter systems will certainly continue as they are overwhelmingly popular, but on balance the chromatic version should be properly freed from a converter in the long term.
 
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Maugein do currently make and sell a compact double resonance box CBA C system accordion. Note compact in the French CBA style, not ladies accordion style:


which is a slightly smaller version of


There's also a configurable version:

 
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Maugein do currently make and sell a compact double resonance box CBA C system accordion. Note compact in the French CBA style, not ladies accordion style:


which is a slightly smaller version of


There's also a configurable version:

I can’t quite tell from the photos… are the LH buttons as large as the right, or are they traditional tiny LH buttons?
And are these converters or permanent free bass?
 
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