Pros and cons of digital accordion

[Xiane]

Is it a bad thing that the instrument does things to the sound to add things to a performance by an accordion player? If it sounds good, why bother whether the musician did something to earn it?

We've previously discussed this. Let's say someone is using the digital voice of an instrument like a violin. That already sounds very different from the sound of an accordion. Is the only acceptable way to play it is to make it sound identical to a real violin? I believe it can still be musical while sounding a little different.

I'm not going to wade into the first part of the argument, but I'll reprise some previous comments to say that in some ways music has always been about technology, making new sounds that are expressive, artistic, fun, danceable, whatever. I'm not in love with people "playing their computer" but there was a time when all sorts of "traditional" instruments were new, and looked on with suspicion and derision, only to take over at least the popular forms within a decade or so, because people like new sounds, and possibilities.

A thing that's helped me as I've gotten older is asking myself "What if I didn't care about this? What would happen?" I don't mean this in a nihilistic way, just a way of prioritizing what's actually important to you.

 

[Rodney]

Initially I was thinking that Roland would be coming up with something better, but it's now been 8 years without any new model. There was the "promise" by Proxima, but these "accoredions" have never become generally available to this day... I'd love to own a digital accordion that is first and foremost a believable accordion and all other features I would just consider a "bonus"... but alas I'm still waiting.

I think Roland would do well to take the hint from the example set by some members of this forum and pre-install Richard Noel’s set of over 20 user program banks he has developed and sells for USD 150. In my opinion they are much better than those my brand new 8x had installed when I received it in January.

 

[breezybellows]

My main problem is that the dry accordion registers (like LM, MH, LMH) do not believably sound like an acoustic accordion.

If I watch a random video with the Roland playing accordion sounds, I agree that it doesn't sound very convincing. Especially when percussion is on, it feels very tacky. In my first two years of playing my Bugari Evo, I never used Accordion sounds (especially on the bass side). Last year I purchased some UPGs from Michael Bridge. I particularly liked one dry tuned MM program. It still has orchestral bass on the left hand with guitar for chords. I've been extensively using that whenever I play accordion sounds and it sounds pretty real (to my ears).

My teacher Joe Natoli has composed several songs for free bass accordion. His primary instrument is a Bugari Evo and I do find his sound very convincing.

 

[Ffingers]

If I watch a random video with the Roland playing accordion sounds, I agree that it doesn't sound very convincing. Especially when percussion is on, it feels very tacky. In my first two years of playing my Bugari Evo, I never used Accordion sounds (especially on the bass side). Last year I purchased some UPGs from Michael Bridge. I particularly liked one dry tuned MM program. It still has orchestral bass on the left hand with guitar for chords. I've been extensively using that whenever I play accordion sounds and it sounds pretty real (to my ears).

My teacher Joe Natoli has composed several songs for free bass accordion. His primary instrument is a Bugari Evo and I do find his sound very convincing.

Brilliant playing indeed.

The sound is a significant improvement on most that I have listened to, nevertheless, still electronic.

 

[Dingo40]

nevertheless, still electronic.

I'm not savvy enough to pick it!
Still, if ignorance is bliss, surely 'tis folly to be wise?

 

[breezybellows]

I'm not savvy enough to pick it!
Still, if ignorance is bliss, surely 'tis folly to be wise?

That's exactly where I stand. That's good enough for me and that's probably because the sounds didn't bother my ears.

On a side note, I can say the same about eating desserts. My wife is a chocolate snob and is very picky about her desserts. I can enjoy anything that sweet.

 

[Ffingers]

I'm not savvy enough to pick it!
Still, if ignorance is bliss, surely 'tis folly to be wise?

Nothing about ignorance, mate, just differences in peoples' hearing as well as their predelictions.
My attitude is very much that folk should be true to what they like and appreciate, to not follow the herd in their tastes and to refrain from adversely criticising any other persons likes and/or dislikes.
My expressing what appeals to me, or does not, is in no way a judgement on whatever it is that suits someone else's sensibilities, it's just this one person's particular feelings about it.
In my reckoning there is nothing good or bad in taste other than that some people like to make it so.

 

[debra]

...

My teacher Joe Natoli has composed several songs for free bass accordion. His primary instrument is a Bugari Evo and I do find his sound very convincing.
...

That sound is kind-of half believable until he gets to the final chords. Playing very fast is generally a way to hide flaws also in acoustic accordions. (Balkan players tend to only play fast notes which hides whether their instrument is out of tune or not.) The final chords give away very clearly that it's an electronic accordion.

 

[Dingo40]

In my reckoning there is nothing good or bad in taste other than that some people like to make it so.

So, like has been said, "Education consists of the process of throwing artificial pearls before real swine!"

 

[dak]

Is it a bad thing that the instrument does things to the sound to add things to a performance by an accordion player? If it sounds good, why bother whether the musician did something to earn it?

We've previously discussed this. Let's say someone is using the digital voice of an instrument like a violin. That already sounds very different from the sound of an accordion. Is the only acceptable way to play it is to make it sound identical to a real violin? I believe it can still be musical while sounding a little different.

Problem is that it all sounds the same to me. It's like an actor who changes clothes to change roles but doesn't change his voice or his stance or his gait. And then why bother changing the clothes?

 

[dunlustin]

July 25, 1965, Bob Dylan took the stage at the Newport Folk Festival.

 

[Tom]

I remember the hubbub but was too young to understand. I was living in RI at the time, across the bay. I had yet to discover pop music.

 

[Rodney]

So, like has been said, "Education consists of the process of throwing artificial pearls before real swine!"

Goodness, that’s a great throw-away quote.

 

[Dingo40]

Goodness, that’s a great throw-away quote.

I owe the quote to this guy here:

Irwin Edman

 

[Xiane]

July 25, 1965, Bob Dylan took the stage at the Newport Folk Festival.

A very big moment for the accordion/melodeon world (especially in the USA) occurred starting in 64 where a Cajun band appeared to great acclaim. They were apparently listed as "Cajun Band", despite being the "Eunice Playboys" (because the Cajuns had many bands, as it turned out). Multiple encores. Marc Savoy calls the period "The Discovery of The Cajuns".

 

[Siegmund]

My teacher Joe Natoli has composed several songs for free bass accordion. His primary instrument is a Bugari Evo and I do find his sound very convincing.

Clever idea, making a jazzy spin on Flight of the Bumblebee, and a clever subtitle too.
Now, as for 'convincing sound' --- yes, I found it a very convincing sound: it was a solid imitation of a jazz accordion (right hand) accompanied by a string orchestra. Save that sound lineup, for when you want to re-create Galliano's music after he is gone!
On the other hand... I don't think the left hand, played on an acoustic accordion, without the help of software shaping the beginning and end of each note, would bear the slightest resemblence to that recording. Recreating the sounds on the recording would be a challenge even for an accordion duet. It was a bit disconcerting to see one thing on the page and hear something different in my ear. And I have to ask: which sound did the composer really intend, the one he wrote on the page, or the one he played?