Help identifying a Scandalli accordion
- Thread starter KooJanzen
- Start date
KiwiSqueezer
Active member
All that follows is what I have gleaned over the last couple of years. No doubt any errors will be corrected by others. I have a couple of similar instruments, although in much worse (external) condition than yours, awaiting major rebuild.
On one of the characteristic mute flaps you will find 'Scandalli Brevetto' engraved. This gets used as if it were the model's name, but merely means 'Scandalli patent'; they also get called 'Polifonico', but no-one seems to know why. There are two families with mute flaps, and treble coupler switches arranged in a curved array. The other family has 13 switches. The curved switch array, and 'Scandalli' in lower case fix the date to the 1950s. Later models (from late '50s?) had a straight array of switches, then 'Scandalli' in upper case. Scandalli also made boxes with four mute flaps, and Paulo Soprani also made boxes with similar flaps. You're very fortunate to have mute flaps with intact plating! Hopefully, the rest of the box is in such good condition.
The treble switch markings aren't the clearest. From left to right, the switches select Low, Low + Middle, Middle, Middle + Middle* + High, Middle + High, Low + High, High reeds. The palm 'Master' switch selects all reeds, i.e. Low + Middle + Middle* + High. The Middle* set may be mis-tuned for a vibrato effect.
If in good working condition, I believe that this would be considered quite a desirable box: it's certainly several steps up from a 'student' model, and some have called it a 'professional' model.
There's more about this family of Scandallis to be found in this forum. Please, somebody, correct and add to this - there's at least two of us here who want to know more...
On one of the characteristic mute flaps you will find 'Scandalli Brevetto' engraved. This gets used as if it were the model's name, but merely means 'Scandalli patent'; they also get called 'Polifonico', but no-one seems to know why. There are two families with mute flaps, and treble coupler switches arranged in a curved array. The other family has 13 switches. The curved switch array, and 'Scandalli' in lower case fix the date to the 1950s. Later models (from late '50s?) had a straight array of switches, then 'Scandalli' in upper case. Scandalli also made boxes with four mute flaps, and Paulo Soprani also made boxes with similar flaps. You're very fortunate to have mute flaps with intact plating! Hopefully, the rest of the box is in such good condition.
The treble switch markings aren't the clearest. From left to right, the switches select Low, Low + Middle, Middle, Middle + Middle* + High, Middle + High, Low + High, High reeds. The palm 'Master' switch selects all reeds, i.e. Low + Middle + Middle* + High. The Middle* set may be mis-tuned for a vibrato effect.
If in good working condition, I believe that this would be considered quite a desirable box: it's certainly several steps up from a 'student' model, and some have called it a 'professional' model.
There's more about this family of Scandallis to be found in this forum. Please, somebody, correct and add to this - there's at least two of us here who want to know more...
Dingo40
Been here for ages!
I think it has 3 treble voices only as there's not enough couplers for it to have four voices.
In particular, there's no LMMH, MM, MMH, and MML couplers
Even so, it's still quite nice (if in playable condition)!
Some of our member own Scandalli Polifonicos and will probably have more to say about them.
In particular, there's no LMMH, MM, MMH, and MML couplers
Even so, it's still quite nice (if in playable condition)!
Some of our member own Scandalli Polifonicos and will probably have more to say about them.
Last edited:
KiwiSqueezer
Active member
Dingo - That's what I thought initially, however...
LMM*H is provided by the palm switch (only), MM*H by the centre switch. I agree that MM*, and MM*L are not available.
I was surprised to discover that my 13-switch and 7-switch Scandallis have the very same complement of reed sets: 4 treble, 5 bass, even though a different number of treble and bass switches. The 13-switch box has 6 bass switches. The 7-switch has two toggling buttons, which interact to produce, if memory is reliable, three bass voices. Pictures on the 'net suggest 13-switch versions exist in at least two arrangements of treble couplers. Why Scandalli should have made a slightly simplified version of essentially the same instrument is a puzzle. I suppose it was all to do with marketing: production costs must have been similar.
Important note to KooJanzen. (Please excuse me for appearing to assume you don't know much about these boxes - it's safer). The bellows are held shut by an internal claw arrangement. When you turn the lever on the instrument's underside to release the bellows, make sure it clicks securely in the 'open' position. If the claws move back towards their 'closed' positions, they can foul and severely damage the bellows!
LMM*H is provided by the palm switch (only), MM*H by the centre switch. I agree that MM*, and MM*L are not available.
I was surprised to discover that my 13-switch and 7-switch Scandallis have the very same complement of reed sets: 4 treble, 5 bass, even though a different number of treble and bass switches. The 13-switch box has 6 bass switches. The 7-switch has two toggling buttons, which interact to produce, if memory is reliable, three bass voices. Pictures on the 'net suggest 13-switch versions exist in at least two arrangements of treble couplers. Why Scandalli should have made a slightly simplified version of essentially the same instrument is a puzzle. I suppose it was all to do with marketing: production costs must have been similar.
Important note to KooJanzen. (Please excuse me for appearing to assume you don't know much about these boxes - it's safer). The bellows are held shut by an internal claw arrangement. When you turn the lever on the instrument's underside to release the bellows, make sure it clicks securely in the 'open' position. If the claws move back towards their 'closed' positions, they can foul and severely damage the bellows!
Last edited:
Thanks all. Very interesting indeed. My father was a professional musician and actually played this accordion from time to time, although always said he wasn't very proficient. I remember it being in his studio when I was a child and I am almost 60 now.
Last edited by a moderator:
I don't know if it is because I've had my Brevette return to me, but I am starting to see them more and more... and here is what is interesting... Scandalli made them in seemingly infinite variations and versions. Tthey are identified by their round "flaps" that open when the lever is pushed.
Yours seems to be a 50's-60's version that is either a 3/3 (3 reeds right and left) or a 3/4 (3 reeds right, 4 on the left).
Mine looks similar but is a 4/4 and has more registrations on the right and left hands, but the same traditional round flaps. My uncle recently received a Brevette that is very similar to mine (4/4) but he has no master bar and his bellows clips and shoulder strap mounting points in gold. Quite the variation too!
These accordions, when in good shape are true workhorses, light, reliable and sound nice. The ability to open and close those flaps adds a nice little additional high end when open, kind of like a poor man's sordino. I've noticed one small point... all Brevettes that have the original straps (shoulder AND bass straps), come with black leather top and brown undersides (like yours are).
Mine came new like that but unfortunately, sometime between when it left and came back, someone removed the bass strap and shoulder straps for some unknown reason. I replaced mine with some nice black wide bass and shoulder straps with a good backstrap.
BTW, in your pictures, you have the accordion sitting upside down... no biggie, but just something to know.
Yours seems to be a 50's-60's version that is either a 3/3 (3 reeds right and left) or a 3/4 (3 reeds right, 4 on the left).
Mine looks similar but is a 4/4 and has more registrations on the right and left hands, but the same traditional round flaps. My uncle recently received a Brevette that is very similar to mine (4/4) but he has no master bar and his bellows clips and shoulder strap mounting points in gold. Quite the variation too!
These accordions, when in good shape are true workhorses, light, reliable and sound nice. The ability to open and close those flaps adds a nice little additional high end when open, kind of like a poor man's sordino. I've noticed one small point... all Brevettes that have the original straps (shoulder AND bass straps), come with black leather top and brown undersides (like yours are).
Mine came new like that but unfortunately, sometime between when it left and came back, someone removed the bass strap and shoulder straps for some unknown reason. I replaced mine with some nice black wide bass and shoulder straps with a good backstrap.
BTW, in your pictures, you have the accordion sitting upside down... no biggie, but just something to know.
Last edited:
Ventura
Been here for ages!
the very first ones were typical big heavy Italian accordions..
more rounded, thicker, and the shifts were like typewriter keys
metal with rounded tops and the words for the shifts were
printed there (no dots) in italian.. the hub-caps were thick metal and
actually chromed
the keytops were like my Gola, where the ivory looking stuff is wrapped
around and down the sides of the keys too, so you see no wood
or dark shadow from the unpressed keys next to the ones you were playing
no cassotto way back then , nevertheless those original models had serious Volume
and extremely complex and rich tone.. firepower.. you could take one
into battle and reach the Western Shore
more rounded, thicker, and the shifts were like typewriter keys
metal with rounded tops and the words for the shifts were
printed there (no dots) in italian.. the hub-caps were thick metal and
actually chromed
the keytops were like my Gola, where the ivory looking stuff is wrapped
around and down the sides of the keys too, so you see no wood
or dark shadow from the unpressed keys next to the ones you were playing
no cassotto way back then , nevertheless those original models had serious Volume
and extremely complex and rich tone.. firepower.. you could take one
into battle and reach the Western Shore
