Walker
🪗
It would be ever so easy to only choose accordions of yesteryear - and why not? There was something magical about the special accordions from the 1950s, 1960s, even into the 1970s. Excelsior Symphony Grand, Scandalli Super VI, Titano Royal, Petosa AM1100, Hohner Gola, Dallape Supermaestro, Victoria W420V, Hohner Morino M series, Giulietti Classic 127, Sonola SS20 etc. These old icons still make wonderful instruments for today. If it ain't broke...
However, there are some interesting alternatives to the famous names of old, that give a different perspective. Sure you can still buy a new Super VI or AM1100. These are still great choices. But if I had, say, £10,000 or so for an accordion I could buy a new Scandalli Super VI, or even a vintage one - with money to spare - I have done it before. Yet with further thought, I would probably make a different choice. For example, I could look for a Scandalli Conservatorio BJP442. It's not close to the top of the Scandalli free bass accordion price list or specification - but it is class. For a quality 41 key accordion, suitable for an artist who needs free bass to express themselves fully, it's really great. It's compact, with rich tone and has terrific balance between the treble and bass. With a quint converter, it would be a very interesting instrument to me. Okay, the serious classical musicians would want more keys, say 45 minimum. But we don't all need extended keyboards. I would consider a Scandalli BJP442 - I am fairly sure that's the instrument Hana Koskova is playing, but with chromatic free bass.
Normally, I do not suggest buying new accordions, unless it is going to be kept for a long time. There is actually great enjoyment to be had from a new instrument - but for those who regularly sell and replace instruments, it's not a great financial move. Accordions tend to have little or no investment value in the short to medium term - and drop a lot straight away - certainly the VAT etc.
Preowned accordions might be a smarter financial move, as unfortunately it is the first owner who takes the biggest loss. But then, some accordions are a slightly safer bet than others, like buying the big brand names known for quality - can help a bit - Bugari, Pigini, Scandalli etc. But to be honest, the true demand for things like accordions is not that high. Big names, something slightly specialised or rare, maybe that can help.
No, the true value in buying a new instrument that's an alternative to the old icons, is that it gives the chance for a musician to explore, learn new things about the accordion and create their own sound - be different. Even talking to the manufacturer and being involved in a small way adds to the experience.
There's nothing wrong with exploring new types of instrument or music. Even from spending a month or so on this forum, I have gained a lot more understanding of the C system button accordion with C system converter bass. I have heard other international styles of music and listened to new perspectives. Even the great Mogens Ellegaard, seemed to have moved from Hohner Gola (button system) towards a Russian Jupiter and then Pigini accordions. I suppose it's all just part of the journey.
Here is an interesting man who knows all about different Jazz accordion perspectives - playing a Pigini button accordion - I never expected that choice!
If you were to consider something other than a standard or iconic choice... What might you choose?
However, there are some interesting alternatives to the famous names of old, that give a different perspective. Sure you can still buy a new Super VI or AM1100. These are still great choices. But if I had, say, £10,000 or so for an accordion I could buy a new Scandalli Super VI, or even a vintage one - with money to spare - I have done it before. Yet with further thought, I would probably make a different choice. For example, I could look for a Scandalli Conservatorio BJP442. It's not close to the top of the Scandalli free bass accordion price list or specification - but it is class. For a quality 41 key accordion, suitable for an artist who needs free bass to express themselves fully, it's really great. It's compact, with rich tone and has terrific balance between the treble and bass. With a quint converter, it would be a very interesting instrument to me. Okay, the serious classical musicians would want more keys, say 45 minimum. But we don't all need extended keyboards. I would consider a Scandalli BJP442 - I am fairly sure that's the instrument Hana Koskova is playing, but with chromatic free bass.
Normally, I do not suggest buying new accordions, unless it is going to be kept for a long time. There is actually great enjoyment to be had from a new instrument - but for those who regularly sell and replace instruments, it's not a great financial move. Accordions tend to have little or no investment value in the short to medium term - and drop a lot straight away - certainly the VAT etc.
Preowned accordions might be a smarter financial move, as unfortunately it is the first owner who takes the biggest loss. But then, some accordions are a slightly safer bet than others, like buying the big brand names known for quality - can help a bit - Bugari, Pigini, Scandalli etc. But to be honest, the true demand for things like accordions is not that high. Big names, something slightly specialised or rare, maybe that can help.
No, the true value in buying a new instrument that's an alternative to the old icons, is that it gives the chance for a musician to explore, learn new things about the accordion and create their own sound - be different. Even talking to the manufacturer and being involved in a small way adds to the experience.
There's nothing wrong with exploring new types of instrument or music. Even from spending a month or so on this forum, I have gained a lot more understanding of the C system button accordion with C system converter bass. I have heard other international styles of music and listened to new perspectives. Even the great Mogens Ellegaard, seemed to have moved from Hohner Gola (button system) towards a Russian Jupiter and then Pigini accordions. I suppose it's all just part of the journey.
Here is an interesting man who knows all about different Jazz accordion perspectives - playing a Pigini button accordion - I never expected that choice!
If you were to consider something other than a standard or iconic choice... What might you choose?
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