VERY interesting.
Amplifying to get a musette sound
- Thread starter mtj
- Start date
Alan Polivka
Active member
As you say, it depends upon the type of music you play, because it works well for music that doesn't need a lot of punch from the accordion. When playing something like a polka, that needs a lot of bite, I find that it's not so good, because it tends to vary the amount of note attack volume.
Ventura
Been here for ages!
the curiosity over FX will always be under discussion i think..
to again emphasize.. you can only FX the sound that is
processed THROUGH your PA system, and so the percentage
of straight out of the accordion into the air around everyone
sound is in direct opposition to FX that ALTER your sound
which is why some things work well, some with little consistency,
some rather laughingly (like Ventures style Tremolo)
a tremolo pedal does not substitute for a Bellows shake..
a Chorus pedal cannot really "fix" your poorly tuned/reeded Musette
but it can be fun
i recall in early years using a small PA for solo work, that i had
re-wired an old and reliable Univox head from it's spring reverb tank
to route through a small Alesis reverb i velcro'd onto it
in very small venues, i would have to turn the dry/wet fader all the way to
the processed side, so that the ONLY dry sound was that which came from
the accordion itself, and 100% of the sound through the speakers was the
Reverb, in order to get the right "blend" throughout the room
to again emphasize.. you can only FX the sound that is
processed THROUGH your PA system, and so the percentage
of straight out of the accordion into the air around everyone
sound is in direct opposition to FX that ALTER your sound
which is why some things work well, some with little consistency,
some rather laughingly (like Ventures style Tremolo)
a tremolo pedal does not substitute for a Bellows shake..
a Chorus pedal cannot really "fix" your poorly tuned/reeded Musette
but it can be fun
i recall in early years using a small PA for solo work, that i had
re-wired an old and reliable Univox head from it's spring reverb tank
to route through a small Alesis reverb i velcro'd onto it
in very small venues, i would have to turn the dry/wet fader all the way to
the processed side, so that the ONLY dry sound was that which came from
the accordion itself, and 100% of the sound through the speakers was the
Reverb, in order to get the right "blend" throughout the room
looks like Harmonik did a genuine field research
the detuning and the octaver are really the two things that you see often on the professional stage
a tiny box with a big sound
Walker
🪗
Thanks for sharing this video Jerry. I've been thinking about the Harmonik AC5001-FX for a few days...
It appears to me there is a "spectrum of ways" how sound waves from a source can/should be processed, amplified or recorded etc.
Some might argue that a "natural" way to enhance the sound of an instrument is to use no technology; only play a selected musical instrument in a particular environment. It's like when we hear an organ or accordion in a cathedral, the environment affects and changes the raw tone created by the sound source. However, "keeping it natural" would, of course, not work for all situations.
However, some might argue that there is an art in recording or amplifying the tone from an accordion so that it replicates, as closely as possible, the characteristics of the sound source. However, we could go a step further... for example, find a vintage mic or recording technology that does more than replicate the sound source. How many times do we hear people talking about the added "character" or extra "warmth" created by a special ribbon mic etc.
I guess with the Harmonik AC5001-FX we are moving further along the spectrum and can create sound effects hardly related to the original instrument - creating a "musette effect" from a "clarinet" etc.
Ok, so I guess what I am saying is that there is nothing new in the idea that many factors can affect the raw tone of what immediately comes from the vibrating reeds of an accordion. I am beginning to think the FX feature on the Harmonik mics is quite a cool idea - but only on the single reed voice. Not sure it would sound good on other voice combinations, like bandonion or violin etc.
At the end of the day, all things considered, I'd probably still rather buy a musette tuned accordion (or have a 5 voice instrument) than rely on the Harmonik FX feature... but that's just me.
It appears to me there is a "spectrum of ways" how sound waves from a source can/should be processed, amplified or recorded etc.
Some might argue that a "natural" way to enhance the sound of an instrument is to use no technology; only play a selected musical instrument in a particular environment. It's like when we hear an organ or accordion in a cathedral, the environment affects and changes the raw tone created by the sound source. However, "keeping it natural" would, of course, not work for all situations.
However, some might argue that there is an art in recording or amplifying the tone from an accordion so that it replicates, as closely as possible, the characteristics of the sound source. However, we could go a step further... for example, find a vintage mic or recording technology that does more than replicate the sound source. How many times do we hear people talking about the added "character" or extra "warmth" created by a special ribbon mic etc.
I guess with the Harmonik AC5001-FX we are moving further along the spectrum and can create sound effects hardly related to the original instrument - creating a "musette effect" from a "clarinet" etc.
Ok, so I guess what I am saying is that there is nothing new in the idea that many factors can affect the raw tone of what immediately comes from the vibrating reeds of an accordion. I am beginning to think the FX feature on the Harmonik mics is quite a cool idea - but only on the single reed voice. Not sure it would sound good on other voice combinations, like bandonion or violin etc.
At the end of the day, all things considered, I'd probably still rather buy a musette tuned accordion (or have a 5 voice instrument) than rely on the Harmonik FX feature... but that's just me.
Last edited:
I agree, I think I like the real musette over a "fake" one, you cannot hear the results until after it is captured or as you are recording it... I'd certainly not like to do that live!
That said, there are things in there that are of major importance, like quality of sound and that near instant feedback removal. 100% of the people would benefit from the quality of the sound and pretty much all live performing accordionists would love a way to eliminate feedback with the press of a single button. The LIMEX take things a slightly different direction in that they have an integrated EQ and reverb effects, those I'd tend to use more if I was a performing/gigging musicican.
The sound of external microphones is nice, but the advantages of internal mics is IMHO better and easier to get a great sound out of the box without needing to mess with external wiring, mic distance, presence or intrusion of the mice in to the video and external noises. Downsides are you need one set per accordion and the good ones are all expensive!
Zevy
Well-known member
- Joined
- Aug 30, 2013
- Messages
- 949
- Reaction score
- 881
Although this new gadget is a bit pricey, the advantage is having your own "favorite" accordion with the ability to introduce a musette sound, albeit non-authentic. Buying a separate box just for the few tunes I want to play with musette is expensive and a learning challenge of a new instrument.
Not many would be good candidates for the 5001FX, but the 5001+ is awesome on any full range 41/120 accordion from what I have seen so far. Great sound, incredible separation, good external noise cancellation and very well designed. My only complaint is that they used that coiled cord in the bellows, but mine looked well installed and was in perfect condition.
Zevy
Well-known member
- Joined
- Aug 30, 2013
- Messages
- 949
- Reaction score
- 881
I believe that there is an option of a coiled or straight cord for the internal setup.
Possibly. Mine came with the coiled option. As long as it works I am OK with it, but if it ever fails, I’ll be reaching out to Harmonic for a straight wire replacement.
Thanks for letting me know this, I didn’t spot that on the Harmonik website.
Walker
🪗
Hmm... I don't think I would go as far as to call it "fake" musette. I'd say it's... microphoney. 
Yes you are right... I should have perhaps called it a digital musette as opposed to "fake". Poor choice of words on my part.
What we are hearing is a preset slide off the main tone. On an acoustic that amount that is off changes based on how low-high you go and I believe that what I am hearing with the digital one is that it is set to a specific frequency off the main one and that the variance stays the same top to bottom, maybe that is what you are hearing as "microphoney". LOL. (lots of pun in that word!)
What we are hearing is a preset slide off the main tone. On an acoustic that amount that is off changes based on how low-high you go and I believe that what I am hearing with the digital one is that it is set to a specific frequency off the main one and that the variance stays the same top to bottom, maybe that is what you are hearing as "microphoney". LOL. (lots of pun in that word!)
Last edited:
Similar threads
