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[robotmay]

For my Hohner Erika I have the following setup, which works well, although the low G#/F gets little use. This is an adaptation of the Heim layout to fit on a 2 voice with 4 buttons on the half row. I find the Heim layout very nice for grace notes, as well as playing entirely in different keys. The G# keys got slightly odd positions because I use them far, far less than I use the others



It's definitely possible to feel comfortable with both chin-end accidentals and with the half-row. Some tunes you may find easier on one or the other, but if you're forced to use them it does get easier pretty quickly. A big help for me was learning to play in weird keys on a G/C box using the same layout, as the accidentals now feel more familiar to me.

[Thrupenny Bit]

Perhaps using the half row is something I need to try.
My reason for sticking to a complete mirror image on my boxes and ignoring the half row was to prevent confusion.
I'm using chin end accidentals well on my straight 2 row boxes and see a 2r8b as my main weapon of choice. I now have an old Erika with a half row. I got it cos I liked the sound of the Erika, especially the bass end, not for the fact it has a helper row.
I realise I'm taking an unusual stance here but it is the reason I've stuck to the chin end accidentals and not tried to use the half row.

Having just come back from holiday, driving an automatic car on the other side of the road, I got on well with it immediately, apart from trying to change gear with the door handle!  I jumped back into my manual rhd car and drove home without thinking.
Maybe as robotmay says, it is possible to use both systems, though my gut feeling is to stay 2r8b as apart from the pesky low Fnat on one tune that's started this thread I seem to be able to do everything I want on a 2r8b.
Q

[Tone Dumb Greg]

For me that makes no sense if you have a half row.  Third button start with either standard low notes, or low G scale unless you know you need more accidentals/reversals than the half row provides.

Mind you, Theo, I'm surprised it makes no sense to you. It was your suggestion in the first place 

[Theo]

I mean having a 4th button start and a half row is not something I would want for my playing.  The rationale for 4th button start on a two row is to have standard low notes and chin end accidentals.  If you have a half row for the accidentals then you can have both with 3rd button start.

[Tone Dumb Greg]

I mean having a 4th button start and a half row is not something I would want for my playing.  The rationale for 4th button start on a two row is to have standard low notes and chin end accidentals.  If you have a half row for the accidentals then you can have both with 3rd button start.

I misunderstood you

I posted "...I do have a wish list. I want a push G3, a pull C4 and an F4. I don't really want to lose the pull D4. I use the Bb4, the Eb4 and the Ab4 a lot. I very rarely, if ever,  use the right-most keys on either row, or the F5. I may one day but it may well not be on this instrument..."

You replied, quoting me,

Greg, a 2.5 row instrument will give you the possibility of all those notes.

I bought the box with the 4th button start (tuned, rather poorly,  to one of Squeezy's layouts). Retuned the chin end notes to meet what I was after, put the middle range accidentals and reversals I wanted on the helper row and kept the 4th button start.

Don't really see how I could have got my low G without keeping the 4th button start.

Apologies for thread drift.

[Theo]

In the end it is all about what you need for your repertoire and playing style.

[Chris Brimley]

I particularly liked Bob's comments.

A 4-button half row is IMO short, because I don't see why the 2 row quint box can't be fully expanded chromatically, with a longer third row.

I would just say that if you want to escape the clear limitations of the 2-row 8-bass box, why not get down to musical brass tacks, and then only compromise if you really have to?

 

[David J]

The position of the half row relative to the other two rows is important I find. On the Club models it's not centrally positioned, but further away from the chin end. I find this inconvenient with my 3rd button start Bb/Eb, but perfect with a recently acquired D/G with low G scale, 4th button start with low accidentals. I guess it's also what I'm used to 

[Tone Dumb Greg]

The position of the half row relative to the other two rows is important I find. On the Club models it's not centrally positioned, but further away from the chin end. I find this inconvenient with my 3rd button start Bb/Eb, but perfect with a recently acquired D/G with low G scale, 4th button start with low accidentals. I guess it's also what I'm used to 

I think you're right. The 4th button start makes it easier to reach notes on the half row.

Don't think I have a fixed fingering, system though. It depends a lot on where I'm coming from, where I'm going to and, to a much lesser extent,  why I'm there, how long I'm stopping and how quickly I'm going back to it. For a reversal? For an incidental? For a  note in a diffent scale to DG?