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Proxima and the Future of Electronic Accordions

The bottom line is - for me, MIDI/digital is great for silent practice or if you want a bellows driven arranger keyboard, with backing tracks and whatnot, but a really poor approximation of the real thing.
I do feel headphone bass bodily. I know perfectly well that makes no sense at all; must be some synæsthesia thing connecting hearing and feeling.

What MIDI/digital are missing for me is a very subtle, immediate and cohesive form of feedback from my bellows action to the output. Sharing lungs with the accordion while it sings.
 
I do think a digital accordion would be useful for practice - bass & treble at least, perhaps less so for bellows technique. I wear ear defenders when practising as my hearing's a bit sensitive, so just being able to turn the volume down would be good.
Thanks for explaining Rosie. I'm so glad you can see the use of Proxima. :) We all have different views...

6K is...

too heavy a price to pay for silent practice
too heavy a price for an accordion without reeds
or reedblocks
too heavy a price for a company with no history or tradition or reputation
for a technology that will be obsolete in a decade
for a sound that's little more than a parody
for a look that's already badly dated.

If I have a spare 6K...

I'll buy a true accordion
made by an Italian family-owned business
with a passion for making unique musical instruments
that require tuning...
not PAT testing
 
i will assume the proxima website would be the first to know, of course,
of the actual release and availability of product, and there is no new information there

none of our members on the Proxima mailing list have reported to us
any contact, announcement, or update from Proxima

the for sale page on the finnish retailers website is likely just vaporware..
I had read on the Proxima Facebook page, in a post from 2022, that "we have produced and distributed 25 Proxima (Germany, Finland, USA, China) to our most important dealers. " So it could be that this dealer is unloading some prototypes. Why else would they be offering the B46, claimed to be in stock, at 1000 off the list price?
 
I had read on the Proxima Facebook page, in a post from 2022, that "we have produced and distributed 25 Proxima (Germany, Finland, USA, China) to our most important dealers. " So it could be that this dealer is unloading some prototypes. Why else would they be offering the B46, claimed to be in stock, at 1000 off the list price?
now that is interesting..

imagine a company, any industry, the world is waiting for their product
with anticipation..

and they "announce" the first release of actual product on facebook,
once,
in 25 words or less
and over a year later, it shows up on a Finland webpage at retail

but at least it is a basis for the Finland webpage having some legitimacy

is any of this new information inspiring anyone to risk 5000 on a Proxima ?

and

they have 4 important dealers ?

i thought your dealers became important AFTER you have seen
(by their marketing actions, by their sales) which ones actually did a
good or great job moving your product out the front door

nowadays anyone can pop up a webpage and have a product drop-shipped,
this is more and more a common practice,. The real dealer has your
product on their showroom floor, at their events, and they show it off,
and their salesforce understand it's merits and can wax poetic about them..

oops.. i am stuck in the past again ?
 
They can't use the pandemic as an excuse anymore. I presume this company has been a small prototype development team so far. The obvious problem is that they have not been able to find sufficient investors so they can setup a manufacturing operation or find an established manufacturer willing to partner with them. They will have to sell a lot of these before they turn a profit, and how big is the market for a $6K accordion? Then there is the matter of support. Who wants to buy an expensive digital instrument unless they feel confident the company behind it is big enough not to go out of business.

Their website posts both a phone number and email. Has anyone tried to contact them to see what they have to say?
 
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but honestly i think if you guys could imagine what you wanna DO with
something new,FIRST, then you could find a way to do it with existing tech..
Couldn't agree more. Rolands are great midi controllers, why not just use them with a DAW? VSTs to choose from are endless. Play Aphex Twin synths, breakbeats, pads, while looping and modulating everything.

(that's what I'm going to do 😏)
I do think a digital accordion would be useful for practice - bass & treble at least, perhaps less so for bellows technique.
Disagree about the bellows. Sure, it's not the same thing - but also, different acoustic accordions respond differently to bellow action, certain reeds are quieter, others louder.

In my experience, even bellow shake works on Roland! Triplet shake is even easier than on an acoustic, however the normal shake is harder (I'm using full bellow resistance, 0 air going through)

Digital definitely has a huge advantage if you're about to play a really long, really loud chord - with full bellow resistance and 0 air flow, you will be able to hold that chord multiple times longer! Improves phrasing too.
 
Couldn't agree more. Rolands are great midi controllers, why not just use them with a DAW? VSTs to choose from are endless. Play Aphex Twin synths, breakbeats, pads, while looping and modulating everything.

(that's what I'm going to do 😏)
Wish you success. For me, the Roland did not work out better than an age-old MIDI installation without bellows dynamics on an acoustic one and a volume pedal. The bellow dynamics are awkward and Roland's reaction to it is not a good match to what the arranger (not a DAW in my case) is working with. And the sound patches don't benefit from fine-grained expression. Not that Roland's patches fare all that much better.

Of course, the internal accordion speakers will only reproduce Roland's sound. As a MIDI controller, the Rolands are fine as long as you don't use their own sounds at all. But a MIDIfied acoustic will let you use its "internal sounds" together with an arranger and the dynamics are easy to get balanced.

Disagree about the bellows. Sure, it's not the same thing - but also, different acoustic accordions respond differently to bellow action, certain reeds are quieter, others louder.

In my experience, even bellow shake works on Roland!
Sure, they have a sensor specifically for it. There is even a diatonic Roland (where bellows direction is crucial).
Triplet shake is even easier than on an acoustic, however the normal shake is harder (I'm using full bellow resistance, 0 air going through)

Digital definitely has a huge advantage if you're about to play a really long, really loud chord - with full bellow resistance and 0 air flow, you will be able to hold that chord multiple times longer! Improves phrasing too.
Sure, if you accept it as a different instrument, it comes with different playing methods.

In a nutshell, the main criticism around Rolands is that they have lots of good sides and uses but are not filling the space of an acoustic accordion completely. So what? Why not have a more portable and comparatively versatile keyboard controller? And one problem with that is that visually, they are an accordion. And that is what the audience will be expecting to hear and is willing to hear.

I've recently been in an accordion orchestra concert with a pretty good ensemble, and they were using some digital electroniums or similar, with something like a clarinet sound or so as a lead part in some piece. It was annoying as anything to me that you could not pick out the player of that voice because everything looked like an accordion. Why visit a concert if you cannot see what you are hearing? Emotionally that's worse than playback.

You don't win an air guitar competition by miming playing the orchestral patches of a Roland.

That's why being a better controller than a flat keyboard is not competitive. They need to cash in on the accordion sounds. They did a pretty good job both with development and marketing, but the former Roland boss driving it is dead, and I think their board is not invested in driving the development onward.
 
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I've recently been in an accordion orchestra concert with a pretty good ensemble, and they were using some digital electroniums or similar, with something like a clarinet sound or so as a lead part in some piece. It was annoying as anything to me that you could not pick out the player of that voice because everything looked like an accordion. Why visit a concert if you cannot see what you are hearing? Emotionally that's worse than playback.
To expound on that: we need deepfake technology to come to the rescue here. Or "playforward". Where the playing is real and the looks are faked. As offline technology for video production, and in a few years as live technology. You feed it with the MIDI data of a Roland (or other MIDI controller) performance including all register changes, and it deepfakes an ensemble (by default all using the Roland player's facial features) corresponding to the played passages. I could imagine a "string ensemble" of six copies of me where one is obstinately bowing in a different direction than the others.
 
They can't use the pandemic as an excuse anymore.
Perhaps not the pandemic directly, but the resulting electronics chip shortage has been and continues to be a serious matter, and it has had a very severe and extreme impact on a number of projects I'm familiar with, resulting in delays of multi-year delays. I've little doubt it's causing headaches for Proxima as well. They've probably had to redesign the electronics a couple of times in attempts to take better advantage of what's likely to be available. There are also suppliers who are outright lying about what chips they have available. Electronics designers make decisions based on that information, and then have a new up-to-a-year delay when they find they have to redesign again because their chosen supplier is not providing as they said they would.

I don't have any information as to whether that's actually what's happening with Proxima... but it seems to have happened to about everyone else I know in electronics, excepting titans like Sony, Samsung, etc.
 
In a nutshell, the main criticism around Rolands is that they have lots of good sides and uses but are not filling the space of an acoustic accordion completely. So what? Why not have a more portable and comparatively versatile keyboard controller?
Completely agree with this part!

And one problem with that is that visually, they are an accordion. And that is what the audience will be expecting to hear and is willing to hear.
And don't agree here. Audience could be surprised and excited by unusual sound of electronic accordion.

I've recently been in an accordion orchestra concert with a pretty good ensemble, and they were using some digital electroniums or similar, with something like a clarinet sound or so as a lead part in some piece. It was annoying as anything to me that you could not pick out the player of that voice because everything looked like an accordion. Why visit a concert if you cannot see what you are hearing? Emotionally that's worse than playback.
Just an example: unless you are a true expert, can you pinpoint who exactly of several clarinet players is taking solo in a symphony orchestra? And is it really the reason to visit a concert?
 
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I don't have any information as to whether that's actually what's happening with Proxima... but it seems to have happened to about everyone else I know in electronics, excepting titans like Sony, Samsung, etc.
Wow, I didn't think the situation is that bad! So, how much longer it might take to get back to normal with suppliers?
 
And don't agree here. Audience could be surprised and excited by unusual sound of electronic accordion.
I'm a male alto singer. When I was performing with a folk/chanson/klezmer repertoire, I got the question why I was singing with that voice every single time. Anything wrong with it? No but why? Ultimately I took to carefully observing how women behave and dress and move and look in public and created a female stage persona (essentially drag, but not involving exaggeration and gender play). Problem solved, complete reversal.

Surprised and excited, my foot.
 
it goes to show that it's not that easy for small fish to try and develop some complex digital device in today's world

I wish them luck - I hope there is still a realistic roadmap for a succesful successor of the Rolands. There clearly is a market, although somewhat niche (but this forum alone spends enough time discussing digital instruments).
 
Just an example: unless you are a true expert, can you pinpoint who exactly of several clarinet players is taking solo in a symphony orchestra?
They're the only clarinet player staring intently at their music stand, mouth firmly on instrument, instrument away from body, fingers moving and instrument swaying in time to the melody you hear. I don't believe even a little expertise is necessary, unless you're in the nose-bleeds.

And is it really the reason to visit a concert?
For myself, I'm very much of the opinion that the visuals of a performance are a huge part of (especially orchestral) music concerts, and a big part of that is seeing what a human has to do to get those sounds out. If I couldn't see the musicians actually making the music, then I'm with dak - I'd much rather just stay home and listen to the recording, where I can be getting other things done at the same time, and it's socially acceptable to use my phone or my laptop.

And don't agree here. Audience could be surprised and excited by unusual sound of electronic accordion.
Yeah I agree with this personally. At least, depending on context. I love @dak's anecdote about having to dress drag in order to avoid confusing people's sonic expectations, and also I personally expect to stay pretty squarely in the realm of "sounds like an accordion" with most of my digital accordion playing. But on the other hand, especially at say a jazz concert or some such, I think hearing, say, fretless bass "wahs" out of an accordion, or electric-piano riffs, etc, could be very entertaining, and I think the reaction is usually different to hearing surprising sounds from what is immediately apparent to be a digital instrument, than to hear a natural sound from a natural instrument (larynx), that isn't the one you were expecting.

Also, at this point I feel that digital accordions have already gone some distance in changing what people's expectations are. Maybe this is more applicable in the US than in Germany, but it feel like about a quarter of the accordionists I hear are playing digital instruments, and they are often using digital instrument sounds (i.e., not sounding like an accordion). now, I suspect most people around here aren't listening to modern accordion music in general, so maybe they're not actually being exposed to it a ton... but I still think the expectations are beginning to change.

In a nutshell, the main criticism around Rolands is that they have lots of good sides and uses but are not filling the space of an acoustic accordion completely. So what? Why not have a more portable and comparatively versatile keyboard controller?
I think their relative mechanical simplicity, and the fact that they never lose their tuning, are also key factors in why they are attractive to performers. You may not have to "charge the batteries" in an acoustic instrument, but overall there's still less to worry about, particularly for stage performers (vs strolling).
 
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I think their relative mechanical simplicity, and the fact that they never lose their tuning, are also key factors in why they are attractive to performers. You may not have to "charge the batteries" in an acoustic instrument, but overall there's still less to worry about, particularly for stage performers (vs strolling).
There is no question that for performances in a band, the instruments solve a lot of problems you'd have with an acoustic, most of all microphoning. But show me a band where the Roland player uses saxophone sounds. The convenience of a good MIDI controller goes unused mostly. And see how many solo CDs a Roland player is selling. Like with arrangers and loopers, the market for that sound is affordable live entertainment with minimal person count (actually a genre also quite relevant for acoustic accordion players).
 
Wow, I didn't think the situation is that bad! So, how much longer it might take to get back to normal with suppliers?

Things feel (to my not-really-in-the-loop self) like they're stabilizing a bit - I mean, at least a couple project producers have gotten their products out. But I'm still hearing people say there's no end in sight for these problems, that we're years out from a recovery. I think what's stabilizing is probably information about what's unavailable, because it seems like a lot of suppliers were lying, or leading customers on, or insisting they jump through hoops (that still didn't result in parts), but now people mostly understand the nature and scope of the problem, and, I think, what is and isn't going to be available.

I joined the kickstarter for a modern take on vintage computing hardware (a particular interest of mine), the ZX Spectrum Next. Of course, going well past projected dates is par for the course on kickstarter, but in this case it was a "2nd issue" of a previous successful kickstarter, with mild improvements on the original design, so I think it's reasonable to expect that under normal circumstances they wouldn't have exceeded their original projected ship date by more than, say, a year.

I funded it in Sep 2020, the projected date for shipments to start was Aug 2021. They did succeed in shipping, but they didn't begin shipping to Europe until ~December of last year. Mine didn't ship until a few weeks ago (just got it!), late January 2024.

Along the way, as previously mentioned, they had to deal with a board redesign due to the most important component in their design becoming unavailable. They discovered this only after intensive investigation as to why they were getting run-arounds and weird/odd demands on what they must do in order to be supplied.The new part they had to design it around was significantly more expensive than the original (another recurrent theme).

Another product I purchased, Panic's handheld, somewhat gimmicky Play Date gaming device, similarly had to redesign their board around a parts shortage, in the midst of fulfilling pre-orders.

In both of these cases, there was prompt and regular communication about what was going on and what they were doing about it. This is probably not the norm for my experiences.

I've heard similar stories from a bunch of much smaller-time (mostly single-person) outfits. Some of these simply stopped selling the product, not being motivated to redesign a product that they may have developed some years ago. A few others have placed orders with manufacturers for their finished designs, to fulfill their own product's orders, and have found themselves waiting indefinitely for the manufacturer to actually deliver. Some of these projects have no remaining money to pivot to someone else's supply, let alone to a new design. Some of these people were probably using a "stock" design that they didn't even have a hand in. There being no communication on progress from manufacturers, these projects are sometimes likewise not communicating anything to their customers who've been waiting a couple of years now for their investments to pay off. In the case of Kickstarter projects, of course, these customers have little recourse to reover their money.

In some other projects, the creators were somewhat less honest, and were making timeline promises they knew even while making them couldn't be delivered upon, and scope promises that were exaggerations (lies). I think with some of these, the intent was to "make up the difference" later - perhaps not deliver on everything promised, and certainly not in the proclaimed timeline, but at least enough that people wouldn't riot. When these projects were hit by components shortages and their commensurate redesigns, the projects went from being a year or two behind the schedule they were proclaiming, to their palace of lies collapsing in on them due to the absolute infeasibility of remotely making good on their promises. One such project that comes to mind is the Intellivision Amico (another, much more ambitious, modern take on vintage video game hardware), but then it's unclear to me in that particular case whether they would ever have fulfilled their promises (and orders), even if no electronic components shortage had ever come into play.

I have no knowledge of Proxima, their background, or their earnestness, but it wouldn't shock me to learn they might not be far from this last category of industry player (dishonesty compounded by the shortage and other unexpected calamities), which would be very disappointing. But the lack of information or communication is a red flag to me.

I just spoke to Ray at Petosa on the telephone. He did mention a component shortage necessitating a circuit board redesign (I didn't bring it up), but also that significant advancements in the button contact technology and circuit production(?) had led Proxima to decide it was worth it to delay production and redesign to incorporate that. So take that for what you will. There were no projected dates for even when they'd receive a functioning (second) prototype (he did say they'd received a prototype for the previous design, I think in '22, that they then sent around to some other invested parties for evaluation and feedback). He did say they were expecting such a forthcoming prototype "soon", but couldn't really give me an idea what "soon" means. A second prototype would presumably be followed by its own round of evaluations, appraisals, and potentially updates, before manufacturing etc would be put into full swing. It seems to me that, even if Proxima has been completely forthright, we're some years away yet on seeing anything consumable. I think for most of us, whether they're being honest or not, we're probably best off pretending we'd never heard anything about it, until some actually new information does finally become available, and we have new and reasonable timelines for production.

Ray also mentioned that Roland had stopped production on the FR-8 series, and was redesigning that, also due to a crucial electronic component becoming unavailable. I expressed surprise that Roland was even still invested enough in their V-accordions to be willing to redesign it to put it back in production, but he said it's been profitable for Roland and they're still selling a lot.
 
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They're the only clarinet player staring intently at their music stand, mouth firmly on instrument, instrument away from body, fingers moving and instrument swaying in time to the melody you hear. I don't believe even a little expertise is necessary, unless you're in the nose-bleeds.
That's the voice of a true expert, in my book :)

For myself, I'm very much of the opinion that the visuals of a performance are a huge part of (especially orchestral) music concerts, and a big part of that is seeing what a human has to do to get those sounds out. If I couldn't see the musicians actually making the music, then I'm with dak - I'd much rather just stay home and listen to the recording
We are different in this sense, I prefer to close my eyes on live performances. The reason is simple: vision takes up to 90% of brain resources comparing to all other senses, and I want to be 100% focused on my hearing.
 
It seems to me that, even if Proxima has been completely forthright, we're some years away yet on seeing anything consumable. I think for most of us, whether they're being honest or not, we're probably best off pretending we'd never heard anything about it, until some actually new information does finally become available, and we have new and reasonable timelines for production.
Grim, but true. Thank you for such a detailed analysis, really appreciate it!
 
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