Bugari Evo Depth Of Key Travel

[dak]

People are free to play and test music instruments the way they like, and post it online.

[...]

We dont need censorship

And by censorship you mean opinions I dont like. Last time I looked, censorship was suppression of opinions, not disagreement with them.

 

[Deleted member 48]

Here is your quote, dak:
"präsentiert" ("presents") is a plainly ridiculous characterization for Uwe putting out a few notes to a background track for <40seconds. He looks very much like somebody pressed the instrument on him, asked him to play and fired off the video cam before he could protest too much.

It does not look like that would have been nearly enough for Uwe to make a statement afterwards. Let alone anybody looking at the video. No idea who thinks to be doing anybody a favor by putting this kind of stuff online."

This sounds suppressive to me:
"No idea who thinks to be doing anybody a favor by putting this kind of stuff online."

 

[debra]

But to also use the instrument in an orchestra (of acoustic accordions) the sound of built-in speakers also needs to be good.

I think thats sort of hopeless: the instrument will project differently from the others. At best I think its reasonable for bass accordion in a larger orchestra since those tend to be a bit on the weak side (and the kind of sluggy reaction of the low reeds which, given proper technique, gives very nicely articulated notes, does not make it a good idea to create a large bass section from different individual players and instruments). But since you need amplification as compared to even an acoustic accordion, you would not want to do this over internal speakers but rather with a nice solid bass speaker. Of course, with an acoustic bass accordion internal microphones work tolerably and provide for reasonably feedback-free amplification as well. Or just use smaller ensembles and go acoustical. But then you need a very good drummer (if any) who is able to finely gradate his action in a comparatively confined loudness space.

The old Electroniums never tried matching accordions but complementing them. I think that makes more sense.[/quote]

I would not expect the Evo or Roland to match the sound of a bass accordion with just internal speakers. I didnt even try what that sounded. It just so happens that the bass accordion is my favorite instrument, mainly in an orchestra but occasionally also solo as in (Cello Suite nr 1 by Bach, transposed down a bit). I have a lot of experience with bass accordions and with amplifying them. I have heard several small ensembles (quintet for instance) using an acoustic bass without amplification. Never loud enough. I have a quintet (see my Youtube channel) in which I always play the bass amplified (and sometimes my wife plays the bass). My opinion on internal microphones is simple: they are rubbish. The only ones that are good are in fact external but just under the grille, not inside the accordion. Microphones need to be on the outside to pick up what a bass accordion really sounds like. I use a bracket that keeps the microphones a few centimeters from the grille, for the best spread in pickup. This combined with the Bose L1 Model 2 (and Tonematch engine) gives the best bass accordion sound you can imagine, and loud enough for even the largest accordion orchestra. Also, the sluggy reaction of the slow reeds need not be so bad: its a matter of first of all proper adjustment of the reeds and second of the right playing technique. The delay is of course something that could very easily be resolved by an electronic accordion. In hindsight I should have tried the Bugari Evo or Roland FR8x as a bass accordion (with headphones) to see what that sounds like. It would also have registers which most bass accordions lack. (I have the Pigini C39 which is the only bass accordion I know that has registers, and that has 40 notes, despite its model number of 39 which is just copied from the P39 PA bass accordion that has 39 notes.)

 

[dak]

Also, the sluggy reaction of the slow reeds need not be so bad: its a matter of first of all proper adjustment of the reeds and second of the right playing technique.

I did not say that it was bad but rather that it makes for a rather elaborate and individual attack in connection with personal technique so that forming a section from multiple bass accordions (rather than amplifying a single instrument) tends to do the sound no favor.

 

[dak]

This sounds suppressive to me:
No idea who thinks to be doing anybody a favor by putting this kind of stuff online.

Thats dismissive, not suppressive. A call for censorship would be can moderators please remove this kind of posting in future?. Or can this poster be put through moderation when putting video links?. Bandying around terms like censorship for opinions one does not like does not really do a favor for those actually getting censored.

If you like to, you may call me a pompous fool. Thats an opinion reasonably tenable in light of the evidence. But thats not the same as calling for censorship.

Both may contain an amount of think before you act!. But it only becomes related to censorship if there is a serious or else!. And that or else! is what makes censorship bad. If the sole consequence is the disapproval of a pompous fool, thats not censorship.

At any rate, if you want to blow the censorship any further, it will make more sense in a board-related topic.

 

[debra]

Also, the sluggy reaction of the slow reeds need not be so bad: its a matter of first of all proper adjustment of the reeds and second of the right playing technique.

I did not say that it was bad but rather that it makes for a rather elaborate and individual attack in connection with personal technique so that forming a section from multiple bass accordions (rather than amplifying a single instrument) tends to do the sound no favor.[/quote]

I fully agree. I tend to favor being the only bass player. But I play in a really good accordion orchestra (we are going to compete in the Höchststufe at the World Music Festival in Innsbruck) where we have two good bass players and we pay a lot of attention to the attack. I must admit that when using the same type of microphone and all amplified by the Bose L1 I often cannot tell the difference, which can be a problem when one of us plays a wrong note as we cannot hear which one of us that was. Of course the solution to that is more practice so there are no wrong notes. With even more bass players I fear it will be harder and less likely to still sound good. For some pieces two is a good idea because some pieces require the two bass players to play something different. (In our orchestra this happens often.)

I wonder whether the delay for the really low notes can be adjusted on the Bugari Evo or Roland. Having no delay would be useful for inexperienced users who want all notes to play without delay. And I doubt that Roland modeled the difference you get in delay when a low note is started while another note is sounding or not. (When you already play a note the added note takes longer to start, considerably longer in fact. A bass accordion is just so much fun to play when you can really work with all these properties.)