The processing was just for getting an accurate impression of what it sounds like (just ask film people how much work a "no makeup" makeup is). Here is unprocessed audio (probably works best with headphones or proper stereo equipment):
@EdBouchard
Sigh. As I said, the purpose of the processed recording was to give an adequate representation of what the instrument sounds like. But you considered it non-representative. The Røde NT1A is a "brilliant" large frame condenser that puts a bit much emphasis on the upper range. I can give the unprocessed rendition of the small diaphragm condensers instead: those are fairly accurate but of course don't provide an accurate balance (and more like a dual mono than a stereo rendition) due to the placement.
How do you define "free bass accordion"? A unisonoric chromatic hand bellows instrument with single notes left and right? Kusserow bandionions were first built in 1903. A traditional C bass instrument with 2-row baritone basses (the low bass octave was only on Stradella; the "baritone" basses were taken exclusively from the chord reeds) was built by Venanzio Morino for Maurice Thöni, and Thöni went touring with it in 1919 (together with Antonio Piccoli).
Wasn't the FR4xb able to record to USB stick directly? It doesn't get better than that when using the FR4xb. You can then record a video any way you like and use its audio track for synchronizing the track from the USB stick. With the video above, I didn't bother switching the "real" video light on. After all, it was supposed to be an audio sketch.
I no longer have an acoustic accordion. Teaching myself button accordion on the Fr4x. Never tried to record anything off it. Wasn’t aware of the ability to record the sound with a USB stick. I guess I could figure out how to use my Android phone and/or iPad to simultaneously record a video. Next I would need to then find software and learn how to sync the audio from the USB stick. I’m up for the challenge.
I know you are probably right. However, when Russians like Frederich Lips began working with bayan makers, to my ears, the instrument began sounding a whole lot better. Lips credits Mogens Ellegaard with doing the same at Pigini. I tried out a few ‘experimental’ free bass options in the late 1960s-early 1970s, including: Vince Geraci’s marvelous Bell accordion, a Khuel system, a quint system, a Giulietti similar to the Morino you play, and the Moschino system.
@EdBouchard I am afraid you are perhaps a little mistaken about Richard Galliano. He does not limit himself only to Stradella bass. Galliano is famous for playing Quint free bass accordion.
So even the purported improvements in free bass accordions happening since the 1960s weren't enough to make you enjoy the practice on acoustic instruments. My own leanings have led me in a different direction: I feel cramped by the lack of fine phrasing control the digital accordions are showing so far: with regard to phrasing like an acoustic accordion, button/key velocity is a less important metric (except for button noise) than tracking button/key depression depth. And so far the chosen key sensors don't provide that information.
I must have miscommunicated. From about 2008 to mid-2022, I played on an acoustic PA with a converter free bass (C-system). I joined some ensembles (Klezmer and Jazz Manouche). I practiced diligently. Got to the place where I could play a few JS Bach Inventions and Sinfonias. I very, very much loved the sound of my instrument. It was made by Castagnari. Was told they only made two of them. One was for a nephew who was about to begin music school in Italy. The other wound up in my mid-western USA city at an accordion maker’s retail store.
Congratulations breezy! Yet again you inspire us with your dedication to the accordion!
I've tried practicing scales, inversions and arpeggios. Without an exam, I didn't do it with enough discipline. Having a deadline for an exam made me play these much more diligently. I can now say thati know these scales really well.
