Yes some high-end models have plates with multiple reeds, some may have a plate for a whole octave (Cagnoni for instance makes these, so no need for Pigini to import them from Russia), and some have plates with something like 4 notes. Before switching to CBA I had a Bugari 289/ARS/C5 which had these plates with 4 notes. You could not hear any difference between the single notes and the multi-reed note plates. On the instruments that have a plate for a whole octave you may hear a difference between these notes and the higher octaves but that is more due to the reed block they are on than due to the difference in single-note or multiple-note reed plates.Acon said:debra,
Your observation makes sense. Ive heard that some high-end PIGINI models (Sirius or something, not sure) use the design you mentioned. They said the lower reeds was fix on a plate to create richer bass, and the rest of reeds was wax-glued in a traditional way. It must be unacceptable if the fixation methods make different sounds in a same instrument.
So you are a professional accordionist? Cool!
You mentioned PIGINI basson, is that an accordion model name? Or...a real basson?
Thanks for your sharing. Cheers.
This discussion board does have a number of professional accordionists, either still active or not, and also has people who buy/sell/repair accordions professionally. I am not one of them. I am a computer science professor with a serious accordion (playing/arranging/repair) hobby.
The Pigini basson I have is the C39. So it is a bass accordion, the only model in the world that is 3 reeds (LMH) with 4 registers (L, LM, LH, LMH). There is a PA counterpart, the P39. The existence of the P39 (with 39 notes, C to D) explains the name C39 which actually has 40 notes (C to D#). I play in the Nederlands Symfonisch Accordeon Orkest (Dutch Symphonic Accordion Orchestra) where the other bass player uses a P39.
