My third project: Hohner Verdi II (silver)

[Jose EB5AGV]

Well, I have explained in another thread that I have got a second HOHNER VERDI II. Yes, I am that way, when something fails I try to get a way to deal with it. So, when my first VERDI II revealed its dark inner secret (rusted reeds), I began to think what I could do, as that instrument has an history behind which urged me to fix it. So I checked the usual second hand sites, looking for a parts donor, but instead found this one:







So, even if knowing that it would not be what I initially intended, it looked like a good accordion and, well, I was eager to finally play a VERDI II. And, this time, the seller assured me everything worked and explained it was his instrument, same model he played back in the days, bought used about 8 years ago, and now he was unable to play it due to an injury. So, well, I went for it.

But on arrival, there was some damage on one key



Luckily the break was clean and the broken part was there. So, well, I tried to play the instrument... and the bass mechanism was sluggish and lots of bass notes played without pressing anything. So it was impossible to check it that way. Oh well...

I first looked at the treble mechanism and found that everything is nice and the felts look pretty well:





So it was time to reveal if the instrument was worth it or not... I had my recent experience with the other unit, so I knew how to get into the instrument to check everything. I used this foam part to set the pins in order:





BTW, the pins were easy to take out, which was quite a lot different than on the other one, which had some rust on the pins. These were mostly clean. So, how would the reeds be???. Maybe I had another door stopper???. No, they are in great shape!!!





Even the valves are mostly fine, except for some bass ones.

(continues on next message)

 

[Jose EB5AGV]

So I looked for the reason of the bass problem. Yes, the mechanism was not moving easily, but that was not the main problem. One of the reeds blocks had a break!





The air entered lots of reeds and that was the cause for the multiple basses sounding.

So the first step was to glue back that piece (I looked and it seems the other parts seal without any glue... Some wax is cracked and I have not yet any wax here (will order soon), so I will apply some heat with a soldering iron, just to temporarily seal the gaps and be able to play the accordion. I will later do a proper waxing job.



I have also cleaned the bass mechanism and, by using WD40 DRY PTFE lubing, it is smooth like silk now!





One good thing on this accordion is that the keys mechanish is modular. You can get it out in three blocks, very easily:



So it was time to fix the key. I have cleaned with alcohol the area and have put some tape on it, so it was easier to manage, have applied some thin layer of Super Glue 3 and have put it on place, with some more tape holding it tight. I will add tomorrow some extra material on the lower side. I plan to use Super Glue 3 plus some baking soda, which seems to create a good filler:





Protecting the neighbouring keys:



And the small part glued. Don't worry for the lines you see, it is due to the laters of tape:



So tomorrow I plan to finish the key, fix the bass reeds leaks and, finally, check the tuning!

 

[debra]

The "crack" in the bass block actually means the upper section of the block separated from the base of the block.
To fix this properly you needed to pry off the base completely so as to apply glue to all the parts that make contact with the base. That means all also the center wall and the side walls of each resonance chamber. By just applying glue to the parts you could see you may well have left air leaks inside, which can cause notes for which you did not press a key to play when you press the adjacent key. The proper fix would be to remove all the reeds, glue the block properly, then put all the reeds back (and wax them in).
Sorry, but there are no shortcuts in accordion repair.

 

[Jose EB5AGV]

The "crack" in the bass block actually means the upper section of the block separated from the base of the block.
To fix this properly you needed to pry off the base completely so as to apply glue to all the parts that make contact with the base. That means all also the center wall and the side walls of each resonance chamber. By just applying glue to the parts you could see you may well have left air leaks inside, which can cause notes for which you did not press a key to play when you press the adjacent key. The proper fix would be to remove all the reeds, glue the block properly, then put all the reeds back (and wax them in).
Sorry, but there are no shortcuts in accordion repair.

Yes, I thought that was a possibility (that the glue was applied to all the matching surfaces). I looked with a light on the crack and it seemed that the only glued part was the one I fixed. That also may explain way it broke in first place, as that would be not a high strength assembly. All in all, I can unglue what I have glued and remove everything. But I want to know the current condition of the accordion and, doing it the right way, would be for sure take weeks (as I am still needing to learn some techniques). So my take is to do this maybe temporary repair, check the accordion and then go for a more extensive repair as I learn how to do other things, as waxing reeds, using my Second project unit, the LUCIA II, which is by far in worse condition than this one, and so I can use it as a test bench.

Let me explain my rationale on all these in parallel projects​

I think it is important to explain why I am attempting several things at the same time, even being a noob on this. My approach is similar to what I do on my electronics repair work. I have always about 50 things to fix in queue and usually about 5-10 in parallel. For example, I open a radio transceiver and find that there is some damaged part which I don't have in stock. So I put it aside, order the part, and continue with another unit. It maybe also another case, as finding some fault which I am not able to solve on a first attempt. So that unit is put also aside, while my brain works on it in the background or I learn about that new to me problem (even after 35 years working on electronics, there are new things to find!). And so on.

So, in the accordion case, I have done a similar thing. Luckily I have two main workbenches at my home lab, and one is devoted to musical instruments, which at this moment are accordions. In this case, my First project, the VERDI II, was completed until I found the rusted reeds problem (this showcases I am a noob, right? ). As by now my abilities are not up to the point to attempt a fix, that project is set aside for now. Among other things, I need to build a tuning table, so I have ordered a bellows and will build a tuning table using my CNC router (I will publish a thread on that project, as I think may be interesting for other people). So I buy the Second project, the LUCIA II. It is known in advance it is a big one, with obvious external problems and, what I expected, internal ones. It has some loose reeds, some damaged keys (fixed in a bad way), some tuning problems, bass mechanism problems and such. But it will be perfect to work on waxing reeds, so it is set aside until I get the proper tools for that. And then the Third project, this one, comes in. For this, I use my experience on First project so some things, like the bass mechanism, are fixed fast. Once I get into waxing, I could attempt a full rebuild of the bass block. And so on.

Back in 1990s I began repairing my own Citizen Band transceivers. I had no idea of that, only on electronics in general. I build knowledge from fixing more and more radios and now it is my main work for 13 years and I was able to leave my R&D work I had and devote to this, being self employed. I am glad I did, life is lots easier without a boss

So my approach on accordions, even if I don't plan (yet at least) to do this as a job, is to learn by doing. And, so far, if you think that back in January I had no idea of what was inside an accordion, I would say there is some advance, so I will keep going forward.


Sorry for the rant. I understand some of you may find my way to proceed a bit weird. But, at almost 57, I don't have a full life left to pursue new things, so I must, let's say, hurry up a bit. Hope you understand me!

Best wishes,

Jose

 

[Tom]

Yes, I thought that was a possibility (that the glue was applied to all the matching surfaces). I looked with a light on the crack and it seemed that the only glued part was the one I fixed. That also may explain way it broke in first place, as that would be not a high strength assembly. All in all, I can unglue what I have glued and remove everything. But I want to know the current condition of the accordion and, doing it the right way, would be for sure take weeks (as I am still needing to learn some techniques). So my take is to do this maybe temporary repair, check the accordion and then go for a more extensive repair as I learn how to do other things, as waxing reeds, using my Second project unit, the LUCIA II, which is by far in worse condition than this one, and so I can use it as a test bench.

Let me explain my rationale on all these in parallel projects​

I think it is important to explain why I am attempting several things at the same time, even being a noob on this. My approach is similar to what I do on my electronics repair work. I have always about 50 things to fix in queue and usually about 5-10 in parallel. For example, I open a radio transceiver and find that there is some damaged part which I don't have in stock. So I put it aside, order the part, and continue with another unit. It maybe also another case, as finding some fault which I am not able to solve on a first attempt. So that unit is put also aside, while my brain works on it in the background or I learn about that new to me problem (even after 35 years working on electronics, there are new things to find!). And so on.

So, in the accordion case, I have done a similar thing. Luckily I have two main workbenches at my home lab, and one is devoted to musical instruments, which at this moment are accordions. In this case, my First project, the VERDI II, was completed until I found the rusted reeds problem (this showcases I am a noob, right? ). As by now my abilities are not up to the point to attempt a fix, that project is set aside for now. Among other things, I need to build a tuning table, so I have ordered a bellows and will build a tuning table using my CNC router (I will publish a thread on that project, as I think may be interesting for other people). So I buy the Second project, the LUCIA II. It is known in advance it is a big one, with obvious external problems and, what I expected, internal ones. It has some loose reeds, some damaged keys (fixed in a bad way), some tuning problems, bass mechanism problems and such. But it will be perfect to work on waxing reeds, so it is set aside until I get the proper tools for that. And then the Third project, this one, comes in. For this, I use my experience on First project so some things, like the bass mechanism, are fixed fast. Once I get into waxing, I could attempt a full rebuild of the bass block. And so on.

Back in 1990s I began repairing my own Citizen Band transceivers. I had no idea of that, only on electronics in general. I build knowledge from fixing more and more radios and now it is my main work for 13 years and I was able to leave my R&D work I had and devote to this, being self employed. I am glad I did, life is lots easier without a boss

So my approach on accordions, even if I don't plan (yet at least) to do this as a job, is to learn by doing. And, so far, if you think that back in January I had no idea of what was inside an accordion, I would say there is some advance, so I will keep going forward.


Sorry for the rant. I understand some of you may find my way to proceed a bit weird. But, at almost 57, I don't have a full life left to pursue new things, so I must, let's say, hurry up a bit. Hope you understand me!

Best wishes,

Jose

I think your approach is great Jose! Glad to see the repair in the second Verdi 2. These are (were) great machines.

 

[Glug]

For waxing reeds all you need is a temperature controlled soldering iron and some accordion wax.
The other way is to do it 'properly' with a waxing spoon but that requires skill.

You need a soldering iron that will do around 100-120C, mine does 90-480C.
I then put a flattened spade connector on the end to make a spatula tip and melt the wax onto the reed blocks with that.
You can wax between reeds about 0.5mm apart if you really flatten the spade connector.

 

[Jose EB5AGV]

Thanks, I was just about to ask for the wax melting temperature !. I have a professional JBC digital soldering station (well, my electronics background should be useful for something, right ?)

I have just done some more work, cleaning and reassembling the keyboard:



I have also refaced with a rag the leather... Just to remove some dust and refresh it:



I have carefully cleaned keys.... They do change colour at the front edge!




Next part in:



And that is, all the keys are back!



Then I have placed the register selector:



And now I will temporarily fix the bass reeds wax, put all back together... And finally check the accordion!

 

[Jose EB5AGV]

I have done my best, as I don't have yet any new wax, to seal the bass reeds. I had some unused tips for my soldering station (those things you buy just in case...) and one of them is pretty good for the job:





So I have done some low quality work on the reeds waxing. Sorry, I know I can do better with the proper material (I have even reused some loose pieces of wax)

Before the work:



After the work:





Then I have put back the reed blocks (I know some valves need work):



Well, it is again in one piece and there are no parts left

The treble is in very good tuning shape. The bass not so great. It could be the "repair" I made has altered the tuning or perhaps some other thing, as the valves. I will wait to build my tuning table to experiment with those reed blocks. All in all, the accordion is a good one, IMHO

 

[Ventura]

so Jose, i am not trying to be negative, but just want to
say those reeds look like they have had a re-tuning outside
the factory, and those marks look like the type made by a Dremel tool

perhaps others will chime in ? it seems to me the original tuning
is evidenced by the scratches on all the reeds, and the dremel
crosses through them

in general i believe most good techs avoid using this type of tool
(though if it is not running, just being used as a pin-vise holder
that's OK) because spinning they take too much metal too quickly,
and can overheat the metal causing a loss of temper

a lot of evaluating an older accordion is detective work and
noticing clues

so these reeds >might< not have as long a lifespan now..
the flex-point is thinner now too

 

[ackordio]

I think they came out of the factory with such a treatment, trying to cut costs. I have seen this on many Hohner instruments from that period (Tango IIM, VIM, Student, Lucia, Verdi IIM etc), also on instruments that have certainly never been retuned since. Rough tuning was done with a grinder and fine tuning, if necessary, with a scraper. Nevertheless, they have been working for decades.

I have the same Verdi in red for spare parts. If you should ever find yourself in the northern part of Switzerland, I would be happy to give it to you. Send me an PM.

 

[colinm]

Jose, I think you are amazing, the quality of your photographs is superb, and the explanation of what you are doing is second to none, I am just surprised that you have the time to do all this work, do you get any sleep ?
I shall be very interested how you deal with the rust on the reeds because I do not think I have seen a solution to this before.

 

[Jose EB5AGV]

Jose, I think you are amazing, the quality of your photographs is superb, and the explanation of what you are doing is second to none, I am just surprised that you have the time to do all this work, do you get any sleep ?
I shall be very interested how you deal with the rust on the reeds because I do not think I have seen a solution to this before.

Many thanks for your kind words . I am just building on the knowledge of people who really knows, trying to gather the needed information, digest it, analyze and apply what seems to be a good procedure. That is the reason I am not already done anything on the tuning side. First I need to understand all what is involved, as the wax and valves influence, the difference between being placed or not in the instrument and such. I am studying the Accordion Revival site and plenty of WEB sites and forums, like this one. I have also some books to deal with. I am just about two months on these topics (necer before had even touchen an accordion! ,so have still a very long way to go. But I enjoy the trip.

About pictures, that comes from the fact that all my electronic repairs (about 7000 so far), since about 1995 or so, have been documented using digital cameras. I have tens of thousands of pictures filed by brand, model and owner of the equipment. I do that also on my work on synthesizers, amplifiers, computers or whatever thing I work on. It is very useful to have that kind of visual information available. For the accordion work pictures, I use just my Xiaomi 11T phone. For electronic works I have a dedicated small camera always on the bench.

And, yes, I sleep about 7 hours a day

And my main work, fixing electronics, is first than the accordion work. But, well, if I can spare two or three hours at night to work on my instruments, I do.

BTW, the instrument with rusted reeds is the other Verdi II. I plan to get into it as soon as I build my tuning table (I have lots of ideas for it!) and get some materials I need, as wax, valves, tuning tools and such. I will publish any advance with the reeds on the other instrument thread.

Best wishes,

Jose

 

[Jose EB5AGV]

I hope my father doesn't mind... Here you have a picture of both of us on last weekend visit. As he had not his accordion, I took out the little one for him to play.

I had just finished putting the straps on the Verdi II and had not even adjusted them nor playing it after all the work. But my wife was eager to take the picture