Richard
Member
Hello accordion friends! I’m writing this post in hopes of gaining positive insightful thoughts regarding my/our beloved instrument. I’m aware I’m in dangerous territory as far as opinions, but my thoughts are without malice with the hope that some ideas can be gleaned for the good.
So here goes, thanking you all in advance for your sage input!
I’ve been playing since I was 10 yrs old and now at 86 offering my ideas/comments to possibly improve our beloved instrument!
1. Why do most accordions sound thin and some whiney (to my ears)? To me the answer is cost, inferior reeds, and low quality resonance box construction. I tried a friend’s 40’s Colombo and from the first note I tried, I asked to buy it! The strong mellow tone that ‘spoke’ wanted me to not put it down! Another instance was hearing the playing of a Cajun box with either 1 bassoon reed, or a clarinet reed, I don’t remember. The sound was so loud and mello that I thought it was amplified! So I wondered what can’t our piano accordions be made to that quality of sound? It seems that it can be done to produce such instruments with magnificent mello sound from my aforementionled experience. Does it take a concerted effort on the manufacturers part (R & D)? For any who would object, I’ve heard this wonderful sound, and wonder what it would take to make this wonderful quality of sound the Norm?
2. Next, why are our accordions so heavy and cumbersome? I know the box construction is critical for quality sound along with the reeds. But the Columbo I played was not heavy but had remarkable tone! And why all the switch assemblies, both treble and bass that the majority of us (and maybe a maturity of artists) never use and will never use? The ongoing opinion to lower the weight seems to be to down size the treble keyboard length, but also keep reed combination switches that rarely if ever used. Losing accordion weight also means loss of keyboard range. On the treble side do we need, Sax LM1M2, Celeste LM2H, Oboe M1H, Flute M2H, Soprani M2? It seems to me that Basson L, Clarinet M, M2 and H, piccolo could capture in 7 switches the most desired reed combos of, Bassoon L, Clarinet M1, Bandoneon LM1, Harmonium LM1H, Organ LH, Musette M1M2, Piccolo H. 7 switches with maybe an added optional choice! Certainly a far cry from 15+ switches now. Plus, an advantage of less switches could be it could allow doubling the switch groupings at top and also bottom of keyboard for easy access! 14 switches! The argument I’ve heard is that,”the IF the reed combos are needed, they’re there” BUT how many of players ever need them? Do even the concert artists? And do the audiences even notice? I own and enjoy my Scandalli VII N version that has amazing sound qualities, but the many switches are so similar that are not used! This is the reason for my post.
The bass switches situation is similar with combinations that will never see the light of day! (I don’t understand the various reeds and how they function, only the sounds needed for enjoyable playing). We need deep rich sounds along with soft sounds, along with a caliopi novelty effect! ALSO, it would be Huge as far as playing and the acceptance of our instrument mainstream if the bass has Octave capability! I feel maybe 6 bass switches would suffice!
3. So those are my thoughts, thanks for reading. I hope that you can add/clarify in a positive way and maybe some suggestions might come to fruition. I believe that a piano accordion could be produced with stellar sound quality with efficient layout that could bring our instrument mainstream as a welcomed instrument by music lovers! Thank you again.
So here goes, thanking you all in advance for your sage input!
I’ve been playing since I was 10 yrs old and now at 86 offering my ideas/comments to possibly improve our beloved instrument!
1. Why do most accordions sound thin and some whiney (to my ears)? To me the answer is cost, inferior reeds, and low quality resonance box construction. I tried a friend’s 40’s Colombo and from the first note I tried, I asked to buy it! The strong mellow tone that ‘spoke’ wanted me to not put it down! Another instance was hearing the playing of a Cajun box with either 1 bassoon reed, or a clarinet reed, I don’t remember. The sound was so loud and mello that I thought it was amplified! So I wondered what can’t our piano accordions be made to that quality of sound? It seems that it can be done to produce such instruments with magnificent mello sound from my aforementionled experience. Does it take a concerted effort on the manufacturers part (R & D)? For any who would object, I’ve heard this wonderful sound, and wonder what it would take to make this wonderful quality of sound the Norm?
2. Next, why are our accordions so heavy and cumbersome? I know the box construction is critical for quality sound along with the reeds. But the Columbo I played was not heavy but had remarkable tone! And why all the switch assemblies, both treble and bass that the majority of us (and maybe a maturity of artists) never use and will never use? The ongoing opinion to lower the weight seems to be to down size the treble keyboard length, but also keep reed combination switches that rarely if ever used. Losing accordion weight also means loss of keyboard range. On the treble side do we need, Sax LM1M2, Celeste LM2H, Oboe M1H, Flute M2H, Soprani M2? It seems to me that Basson L, Clarinet M, M2 and H, piccolo could capture in 7 switches the most desired reed combos of, Bassoon L, Clarinet M1, Bandoneon LM1, Harmonium LM1H, Organ LH, Musette M1M2, Piccolo H. 7 switches with maybe an added optional choice! Certainly a far cry from 15+ switches now. Plus, an advantage of less switches could be it could allow doubling the switch groupings at top and also bottom of keyboard for easy access! 14 switches! The argument I’ve heard is that,”the IF the reed combos are needed, they’re there” BUT how many of players ever need them? Do even the concert artists? And do the audiences even notice? I own and enjoy my Scandalli VII N version that has amazing sound qualities, but the many switches are so similar that are not used! This is the reason for my post.
The bass switches situation is similar with combinations that will never see the light of day! (I don’t understand the various reeds and how they function, only the sounds needed for enjoyable playing). We need deep rich sounds along with soft sounds, along with a caliopi novelty effect! ALSO, it would be Huge as far as playing and the acceptance of our instrument mainstream if the bass has Octave capability! I feel maybe 6 bass switches would suffice!
3. So those are my thoughts, thanks for reading. I hope that you can add/clarify in a positive way and maybe some suggestions might come to fruition. I believe that a piano accordion could be produced with stellar sound quality with efficient layout that could bring our instrument mainstream as a welcomed instrument by music lovers! Thank you again.
