Comparison of LM registers to give defining sound of an accordion - second post ( first deleted )

[wirralaccordion]

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In order to properly compare accordion sounds surely this can only be done in the LM register position. I have recorded the tune "Release me" on my 4 accordions and would be interested to know how members might describe the sounds/tones ( or whatever the correct terminology is ) for each of them.
If I said that the accordions were as follows there will be some on here who would even be able to identify them from the sounds produced.
Accordions are ( not necessarly in the order played ): 1939 Hohner Morino l, 1960s Marinucci, Approx 2000 Brandoni Super Musette, and 1960s Hohner Carena lll.

 

[Dingo40]

Superficially, I preferred numbers 3 and 4.
Don't ask for a detailed analysis!

 

[Siegmund]

Is there some reason LM should be an especially good register to compare?

If pressed, I would rank these 4>2>3>1, but I did not fall in love with the timbre of any of them.

 

[David.26/48]

I'm sure all of these accordions will sound great and noticeably more distinctive live, but I think a lot is lost here due to limitations of non-reference or studio microphones plus the effects of audio compression when uploading/downloading. All the subtle differences between your accordions [and it's amazing just how different accordions compare anyway] seem pretty much lost here. None of them sound particularly nice but I'm sure that's down to the microphones & audio compression.

 

[wirralaccordion]

I'm sure all of these accordions will sound great and noticeably more distinctive live, but I think a lot is lost here due to limitations of non-reference or studio microphones plus the effects of audio compression when uploading/downloading. All the subtle differences between your accordions [and it's amazing just how different accordions compare anyway] seem pretty much lost here. None of them sound particularly nice but I'm sure that's down to the microphones & audio compression.

In particular: "All the subtle differences between your accordions [and it's amazing just how different accordions compare anyway] seem pretty much lost here".
Yes, I agree. The differences that come through are more to do with the mechanical side. e.g. one accordion is "clacketty clack" with the treble key noise prominent.
BTW the recording was done using Audacity with a pause between each accordion. There are several tweaks that can be used with this programme and so it may be an interesting exercise to vary settings as you suggest.

 

[Tom]

I gravitated towards the Marinucci, don't ask me why!

 

[Vladimir M.]

Hi wirralaccordion,

for all four accordions, the LM combination sounds very similar, mainly due to the combination of reduction of sound nuances during recording as well as during my listening through headphones. It is a completely different situation than if you play each of the instruments personally and separately and perceive the vibrations of the reeds, the onset of tones and the overall sensitivity and air tightness of the instruments. In that case, you can also compare: the relatively objective ones: reeds quality (response, air consumption), resonance properties of the corpus, haptic comfort /as well as the subjective ones (sound acceptance e.g…).

In this case, I can only say with satisfaction that the recording is a clear proof that, with good care and in good hands, the accordion can serve gratefully for many decades. The Hohner Morino I (1939) is over 83 years old, and in a recording provides a similar sound quantity and mass to the casual and disinterested listener as the three newer instruments. And that amused and pleased me. Because it directly contradicts all the advertising slogans of accordion manufacturers, who today convince you to throw away your old scrap and buy their new advanced instrument. An acquaintance of mine opened his new Italian instrument to find that the bass-mechanics is exactly the same construction as in his old box from the 50s, which he fortunately did not throw away. No, I'm not biased against new instruments. It just irritates me if any distributor offers you his new instrument (as mentioned above) with the understanding that you can understand it as an investment in the future and a store of value. For example, the old Hohner Morino I was made entirely manually, and you can see and hear it. It will last even longer.

I wish you to enjoy all your four nice boxes in full health, happiness and satisfaction throughout the new year 2023.

Best regards, Vladimir

 

[wirralaccordion]

I gravitated towards the Marinucci, don't ask me why!

Hi Tom,
How did you know which accordion was the Marinucci as I did state that they weren't played in the order I listed. If you assumed that the Marinucci was the second accordion, the second accordion was in fact the 1939 Hohner Morino l which is interesting in view of the above post.
Phil

 

[Tom]

Hi Tom,
How did you know which accordion was the Marinucci as I did state that they weren't played in the order I listed. If you assumed that the Marinucci was the second accordion, the second accordion was in fact the 1939 Hohner Morino l which is interesting in view of the above post.
Phil

Thanks Phil, yes,it was that assumption on my part. I guess I like the sound of the old Italian accordions!

 

[debra]

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In order to properly compare accordion sounds surely this can only be done in the LM register position. I have recorded the tune "Release me" on my 4 accordions and would be interested to know how members might describe the sounds/tones ( or whatever the correct terminology is ) for each of them.
If I said that the accordions were as follows there will be some on here who would even be able to identify them from the sounds produced.
Accordions are ( not necessarly in the order played ): 1939 Hohner Morino l, 1960s Marinucci, Approx 2000 Brandoni Super Musette, and 1960s Hohner Carena lll.

The sound samples have convinced me of one thing: To properly compare accordion sounds playing LM may be a good idea, but you should play chromatic scales, slowly, so each note can be heard well, and without using any bass so as to have steady bellows movement. In addition you can play some chords, but really the individual notes are most important. I cannot make out much from any of the samples.