Petosa Mahogany Mute

[Ventura]

yes i thought maybe to go back and correct the number to 1100

simple story really.. we moved a lot so i had to get real jobs everywhere
until i could get enough gigs to pay the bills, and it was mostly in
the Music Trades. Big Ticket mall stores were the easiest, with
several stints in institutional sales both Liturgical and Educational.
Plenty of NAMM shows, but my key was travelling a lot and everywhere i
went would visit retail Music stores (not just accordion shops) and observe and learn..

from Sherman Clay to Sam Ash sea to shining sea and Seattle too.. then Europe
and Italy again not just castleFi, but Retail stores in Rome, Genoa, Milan, Frankfurt,
the list was very long..

then i repped fpr a bit too.. Jobbers.. and i was in the right spot when
Technics really went after the Music Market.. helped introduce Viscount to the USA..
i own the first DW-8000 Korg released to America.. helped put the FR7 on the map for Roland
here in the USA.. i got them into the Coupe Mondial and that was the real catapult..
sold all the big brands from Steinway and Peavey to obscure but awesome
Charles Walters and met with many of the movers and shakers as well
as the engineers behind the scenes.. i look deeply at products.. never sold
anything i couldn't believe in..

yes i did physically take apart that FR7 Roland gave me to use.. yes i did toss their
programming out the window and used my own from the very first event..
yes i did sign Rose Caccamise up as a dealer for Roland V-Accordions..

from my youth into Electronics as well, so took apart many keyboards trying to
stuff their guts into an Accordion.. i wanted MIDI so bad in our instrument because
the Organ Accordions were just like the Rolands.. almost there but never quite reaching
the potential that we all could easily see in them..

so my industry view is really broad, while the retail experience will always keep me
grounded on the side of the best/most honest Value and matching the right instrument
with the right person

then repeat as needed.. do everything my own way.. never used a tip jar for instance..
no need to because i give it all every time and for everyone in the house

 

[PhiliGol]

Amazing story of your (musical) life - thanks for sharing Ventura

 

[Tom]

yes i thought maybe to go back and correct the number to 1100

simple story really.. we moved a lot so i had to get real jobs everywhere
until i could get enough gigs to pay the bills, and it was mostly in
the Music Trades. Big Ticket mall stores were the easiest, with
several stints in institutional sales both Liturgical and Educational.
Plenty of NAMM shows, but my key was travelling a lot and everywhere i
went would visit retail Music stores (not just accordion shops) and observe and learn..

from Sherman Clay to Sam Ash sea to shining sea and Seattle too.. then Europe
and Italy again not just castleFi, but Retail stores in Rome, Genoa, Milan, Frankfurt,
the list was very long..

then i repped fpr a bit too.. Jobbers.. and i was in the right spot when
Technics really went after the Music Market.. helped introduce Viscount to the USA..
i own the first DW-8000 Korg released to America.. helped put the FR7 on the map for Roland
here in the USA.. i got them into the Coupe Mondial and that was the real catapult..
sold all the big brands from Steinway and Peavey to obscure but awesome
Charles Walters and met with many of the movers and shakers as well
as the engineers behind the scenes.. i look deeply at products.. never sold
anything i couldn't believe in..

yes i did physically take apart that FR7 Roland gave me to use.. yes i did toss their
programming out the window and used my own from the very first event..
yes i did sign Rose Caccamise up as a dealer for Roland V-Accordions..

from my youth into Electronics as well, so took apart many keyboards trying to
stuff their guts into an Accordion.. i wanted MIDI so bad in our instrument because
the Organ Accordions were just like the Rolands.. almost there but never quite reaching
the potential that we all could easily see in them..

so my industry view is really broad, while the retail experience will always keep me
grounded on the side of the best/most honest Value and matching the right instrument
with the right person

then repeat as needed.. do everything my own way.. never used a tip jar for instance..
no need to because i give it all every time and for everyone in the house

Thanks Ventura! Someday we need to get you on a zoom (if you’re up for it). I’m sure there are a lot of people here that would love to ask some questions…..

Interesting point about not using a tip jar because you give it your all. Even though I don’t “need” the money, it’s kind of part of the fun. And I do try to give it my all. Maybe next year I’ll try some without, see if it’s different.

 

[Ventura]

yeah the tip thing issue is just one of my weird quirks..
it works for the vast majority of musicians after all

but it is nice to be able to "laugh" when some greedy club owner
tries to get the Musician/me to come and gig at his place because
"you can really make a lot in tips"

umm.. no i can't, and i refuse to be in competition with your Wait staff and
busboys who rely on tips for their actual livelihood Dude !
hire me and pay the price or keep movin'

on Strolling gigs of course occasionally someone may kindly offer a tip,
but i always deflect it to
"please tip the Waitress generously if you liked the Music"

plus i just have an aversion to Whales who throw money around
and expect everyone to kiss it and fawn all over them.. not me.. not a chance..

meanwhile my friend Gene did piano bar gigs on his Technics ensemble
at Mino's Greek place for years and years.. first thing he set up every
night was his huge Cognac shaped goblet salted with his own $5, $10 and $20's..
before he turned the equipment on.. before he played a single note..

 

[Tom]

yeah the tip thing issue is just one of my weird quirks..
it works for the vast majority of musicians after all

but it is nice to be able to "laugh" when some greedy club owner
tries to get the Musician/me to come and gig at his place because
"you can really make a lot in tips"

umm.. no i can't, and i refuse to be in competition with your Wait staff and
busboys who rely on tips for their actual livelihood Dude !
hire me and pay the price or keep movin'

on Strolling gigs of course occasionally someone may kindly offer a tip,
but i always deflect it to
"please tip the Waitress generously if you liked the Music"

plus i just have an aversion to Whales who throw money around
and expect everyone to kiss it and fawn all over them.. not me.. not a chance..

meanwhile my friend Gene did piano bar gigs on his Technics ensemble
at Mino's Greek place for years and years.. first thing he set up every
night was his huge Cognac shaped goblet salted with his own $5, $10 and $20's..
before he turned the equipment on.. before he played a single note..

Good morning and thanks for this insight Ventura. I see your point about the tips for the wait staff, very nice.

No solo or stroller accordion gigs here. Occasionally I hear history, “so and so used to play at such and such,” but this was back in the day. If next summer goes well, and I am sufficiently organized, I’d like to try again. I tried way back before I was ready, didn’t go that well.

 

[Ventura]

well one you might try is like your Farmers market gig..

i did the Maryland Wine Festival and Wine in the Woods
for years and years.. was even their "poster boy" on the
billboards and flyers one time..

so it is like the Market, nice and outdoors and low-pressure,
but you really have to go to each tent for a few tunes and
make the rounds.. can't just play for the one you think tastes best !
so it combines strolling with what you are already comfortable doing..
dunno the cottage Wine industry in your area, but you might find one
in the Fall nearby

i took my bright red Serenelli for those.. not too heavy.. nice projection..
i did leave my Stool at the Lowes tent and started and ended playing
"Skylark" for Bill's wife

 

[Tom]

well one you might try is like your Farmers market gig..

i did the Maryland Wine Festival and Wine in the Woods
for years and years.. was even their "poster boy" on the
billboards and flyers one time..

so it is like the Market, nice and outdoors and low-pressure,
but you really have to go to each tent for a few tunes and
make the rounds.. can't just play for the one you think tastes best !
so it combines strolling with what you are already comfortable doing..
dunno the cottage Wine industry in your area, but you might find one
in the Fall nearby

i took my bright red Serenelli for those.. not too heavy.. nice projection..
i did leave my Stool at the Lowes tent and started and ended playing
"Skylark" for Bill's wife

Good idea, thanks! Yeah, in this tourist area the wineries and breweries have taken over from the galleries and craftspeople. Many of them do have musicians, and this could be a good opportunity.

 

[rmartin7]

I have a 288 Gold Plus Bugari, a 288 Silver Plus and an AM 1100 among other accordions. I think all 3 are nice, I wouldn’t say a huge difference. The AM 1100 is however from 2002, while the Bugari’s are only a few years old. I think the Bugari’s might be better equipped with double riveted Binci reeds.

I just ordered a Bugari Silver Plus LMMH +0 cents from emilioaccordions.com. I won’t get in until October. I live in Mississippi so there is not one to see up close. For me it has been difficult to find pictures and videos online. I am sure I will like it but you never know until the accordion arrives. I didn’t order specific reeds just figured I would get the current standard stock for the Silver Plus. Any comments?

 

[96Bass]

I just ordered a Bugari Silver Plus LMMH +0 cents from emilioaccordions.com. I won’t get in until October. I live in Mississippi so there is not one to see up close. For me it has been difficult to find pictures and videos online. I am sure I will like it but you never know until the accordion arrives. I didn’t order specific reeds just figured I would get the current standard stock for the Silver Plus. Any comments?

A local music store near where I live has a used Bugari 151 Silver. I tried it out. It is a nice accordion and plays well and is in good condition. If it was black and was LMMM I might consider getting it. I have a Beltuna Euro lV and a Petosa Artista Pro to compare. The Bugari seems comparable but it feels "looser" than my Beltuna and Petosa. Is that a Petosa Artista Pro in your profile picture?

BUGARI 151/SILVER ARTIST PIANO ACCORDION W ORIGINAL CASE - BUILT IN PICKUP

www.loudandclearmusic.com

 

[96Bass]

A local music store near where I live has a used Bugari 151 Silver. I tried it out. It is a nice accordion and plays well and is in good condition. If it was black and was LMMM I might consider getting it. I have a Beltuna Euro lV and a Petosa Artista Pro to compare. The Bugari seems comparable but it feels "looser" than my Beltuna and Petosa. Is that a Petosa Artista Pro in your profile picture?

They are selling the same accordion on Reverb with a $1,000 higher price than what it is selling for in their store.

BUGARI 151/SILVER ARTIST PIANO ACCORDION W ORIGINAL CASE - BUILT IN PICKUP

www.loudandclearmusic.com

 

[JerryPH]

I just ordered a Bugari Silver Plus LMMH +0 cents from emilioaccordions.com. I won’t get in until October. I live in Mississippi so there is not one to see up close. For me it has been difficult to find pictures and videos online. I am sure I will like it but you never know until the accordion arrives. I didn’t order specific reeds just figured I would get the current standard stock for the Silver Plus. Any comments?

My friend Ed has a Bugatti 288 gold, it has the 2nd reed set for that rich musette sound. I've played it, it is really VERY nice, but I *think* it is not Cassotto.

He used to live in Florida but has moved to Italy, so going to see it would be an adventure... lol
That said, I know you are going to enjoy it.

 

[rmartin7]

A local music store near where I live has a used Bugari 151 Silver. I tried it out. It is a nice accordion and plays well and is in good condition. If it was black and was LMMM I might consider getting it. I have a Beltuna Euro lV and a Petosa Artista Pro to compare. The Bugari seems comparable but it feels "looser" than my Beltuna and Petosa. Is that a Petosa Artista Pro in your profile picture?

BUGARI 151/SILVER ARTIST PIANO ACCORDION W ORIGINAL CASE - BUILT IN PICKUP

www.loudandclearmusic.com

Yes. I have an older Petosa Artista Pro LMMM and a Petosa Artista Pro LMMH with the Blue Star reeds. I like them both. Both are 37 96 which is nice for size, but I wanted a 41 120. I have never had an accordion with concert tuning so it will be interesting to me to compare the sounds.

 

[rmartin7]

My friend Ed has a Bugatti 288 gold, it has the 2nd reed set for that rich musette sound. I've played it, it is really VERY nice, but I *think* it is not Cassotto.

He used to live in Florida but has moved to Italy, so going to see it would be an adventure... lol
That said, I know you are going to enjoy it.

The one I ordered is double cassotto.

288 SILVER PLUS – Bugari Armando Accordions

www.bugariarmando.com

 

[JerryPH]

The one I ordered is double cassotto.

288 SILVER PLUS – Bugari Armando Accordions

www.bugariarmando.com

It's gorgeous, I think you will be more than happy!
Will you be getting the 2nd set of reeds?

 

[rmartin7]

It's gorgeous, I think you will be more than happy!
Will you be getting the 2nd set of reeds?

Just the one set. I think I would be afraid to open the accordion to insert a second set of reeds. That is an interesting concept. Is it difficult to insert a different set of reeds? I would think a second set of reeds would need to purchased when the accordion is bought for tuning purposes.

 

[Ventura]

more that the reedblocks need to be fitted to the
specific accordion, as there are slight variations between
seemingly identical reedblocks and baffles and frames..
the best place for this is the factory, so that the positioning
of the catch that holds the reedblock in does not need
adjustment between the two reedblocks being swapped

typically one end of the reedblock is slipped under something
on one end, then the other end has the sliding or shifting or
sometimes even spring loaded thing that holds down or releases
the main end, and which exerts the correct downward pressure..

so usually that means sanding the base of the second reedblock
to perfectly match

once two reedblocks have been matched this way, swapping
them in or out is a breeze

it can be done locally, later, if you are careful.. i kept a piccolo
reedset from a junked cordovox CG-V to swap out with the
musette M+ set on my main unit and platooned them for decades
(these were 3 reedblock treble boxes so it was a necessity)

 

[JerryPH]

Just the one set. I think I would be afraid to open the accordion to insert a second set of reeds. That is an interesting concept. Is it difficult to insert a different set of reeds? I would think a second set of reeds would need to purchased when the accordion is bought for tuning purposes.

The 288 Gold that my friend purchased automatically came with the 2nd reed block. It takes about 8 minutes (taking your time) to:
- pull the bellows pins
- pull off the treble section, taking care not to rip the mic wires
- unfasten and pull out the reed block
- replace with the reed block tuned to a heavier musette and fasten down
- place the unused reed block back in the supplied box
- place accordion treble section back on top of the bellows
- re-insert the bellows pins

Note: if doing this, be sure to note what pin came from what EXACT hole and replace back into the same hole it came out of.

Easy peasy!