Tuning query - Hohner Tango V

[warmday]

Hello you founts of knowledge. I need some advice to help me complete the restoration of a Hohner Tango V (circa 1938-40)

41 keys F1 – A6
120 bass
2 x palm switches
1 x bass switch

I'm in the middle of restoring this lovely instrument and I have completed all the mechanical work but I need to know which reeds to tune to A440 and which others to tune sharp/flat for the musette. The configuration of the reeds in the blocks has me baffled.

4 x treble reed blocks:

1. F#1 - G#4 one side and F#2 - G#5 other side (i.e. 8ves on chromatic notes)

2. F#3 - F#4 on both sides (unison on chromatic notes)

3. F2/3 – A5/6 on both sides (unison diatonic 8ves)

4. F3 – A6 on both sides (unison diatonic)

2 x bass reed blocks:

1. G0 - F#1 side 1 and G1 - F#2 side 2 (8ves)

2. G3 - F#4 side 1, G4/5 - F#5/6 side 2 and A4/5 - F#5/6 on 3rd side (at right angles to sides 1 & 2)

Some pics of the reed blocks are attached.

I have tuned pianos before, but never an accordion, although I understand the principals.

If you could give me a clue as to which reeds to tune to what, I would be most grateful.

Kind regards

David

 

[debra]

I don't think you have all these numbers right.
For the trebla L reeds one block has a row likely to go from F2 to A5, for the white keys
(and then F2# to G#5 on the corresponding block for the black keys).
The other reed banks are probably all M reeds.
You can measure which rows of reeds are close to the desired tuning (likely A4=440Hz),
which row is tuned sharp and which is tuned flat.
Put a small strip of masking tape on the blocks and write it down: 16, 8, + and - so you don't make errors while tuning.
Note that tuning is done as follows: make a table to write down the deviations. Measure all the notes (individual reeds).
Then take out the reed blocks and make adjustments. Do NOT measure the reeds with a reed block on a tuning table because that tuning is always (a few cents) off. ALWAYS measure while playing the accordion.
The Tango V may not have a register for each individual reed bank. Remove the grille and see if you can enable each reed bank separately. This old accordion may not even have the possibility to select the sharp bank separately from the flat bank. You then need tape off the reed bank you don't want, with masking tape under the reed block.

 

[warmday]

Thanks Paul - very helpful

 

[Whasanike]

I don't think you would tune the bass reeds with any tremolo.
I think you should practice tuning some cheaper accordions.
This accordion is a valuable legacy, and it takes a long time to learn to tune reeds. I am afraid it risks being irrevocably damaged.

 

[debra]

...
I think you should practice tuning some cheaper accordions.
...

An even cheaper accordion?
The economic value of a very old Tango V in the shape this one is rounds to zero.
It is a fine instrument to start learning the first things about accordion repair and tuning. There isn't much you can do wrong that will lower its value.
That said, when you are careful it is possible to turn this accordion into one that is playable and could potentially be sold for a positive amount of money. But when you count the material used during the repair that becomes harder. (You will need new wax, new valves, possibly new pallet felt+leather, new bellows gasket, new bellows tape,... and it all adds up.)

 

[JerryPH]

I'd suggest making sure all your valves that need replacing are replaced BEFORE starting the tune, else you may find that you need to do it all again afterwards.

 

[Whasanike]

An even cheaper accordion?
The economic value of a very old Tango V in the shape this one is rounds to zero.
It is a fine instrument to start learning the first things about accordion repair and tuning. There isn't much you can do wrong that will lower its value.
That said, when you are careful it is possible to turn this accordion into one that is playable and could potentially be sold for a positive amount of money. But when you count the material used during the repair that becomes harder. (You will need new wax, new valves, possibly new pallet felt+leather, new bellows gasket, new bellows tape,... and it all adds up.)

Although the monetary value is low, it is a classic accordion, which will never be replicated. Just knowing tuning theory doesn't preclude the likelihood of ruining the reeds, which can't be made like this any more. However any artifact is merely stuff, and let's just give up all our attachments and be happy.

 

[JerryPH]

Although the monetary value is low, it is a classic accordion, which will never be replicated.

The Tangos have a good reputation as being the working horse of the budget limited. Many a professional has successfully used them to make many people happy with their sound.

 

[boxplayer4000]

Warmday:
Here's a picture of a Tango V I did some work on.
The reed arrangement was LMMM and the M reeds tuned one flat, one straight (440) and one sharp. The flat, straight and sharp are represented by my pencilled marks on the left-hand end of the reeds by -, 0 and +. (The 'bass' reed, an octave below 0 is marked as 'B') I feel reasonably sure your Tango will be following the same pattern.
The amount of + and - depends on what you want the tuning to sound like as well as the fact that the + and - varies over the range of the keyboard. So there's no firm answer to what the tuning should be.