Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Graham Spencer]

And although Pokerworks have a fantastic sound, they are quite hard to play.

That is true to a certain extent - I have played some Pokerworks that were a nightmare, and others that were a delight. It seems to me the quality and playability of Pokerworks is very variable, depending on such factors as age, place of manufacture and degree of "tweaking". The nicest one I've played was about 30 years old, German built, and apparently much as it left the factory. OK, it didn't play quite as smoothly as my Saltarelle, but it spoke very quickly and easily, took me maybe 90 seconds to adjust to, and sounded GORGEOUS.  On the other hand, one I borrowed was frankly fit only for dismantling for spares....I was glad to return it to its unfortunate owner. I have to admit I've never actually owned a Pokerwork, though I've played many, and I do have a couple of pre-Pokerwork (or "Goldbrand") 2915s, both of which I find a pleasure to play - both wooden fingerboards, of course.  Maybe older is better..........

Graham

[malcolmbebb]

It seems that D/G tuning puts an immediate price premium on a box, but if you buy a popular melodeon such as a Pokerwork or Erica, they do hold their prices (as do their more expensive bretheren, of course).

I have found that, if you do make it to sessions, other players are often more than willing to let you have a go - don't be afraid to ask, even if it's just to get the feel of a box. I find it a little daunting to try boxes at trade stalls or shops, at my present level, although I've never felt any pressure. On the other hand, if you do try one from a dealer it is likely to be in good condition.

Your biggest problem might be stopping at one...

[ron1]

I am overwhelmed by the response to my English Question and the diversity of knowledge. To be honest, I never expected more than (1) or (0) answers. Thank you so much for all your advice.
 I tend to steer clear of Ebay now, as a box I purchased was to be honest, a piece of junk and certainly not as advertised by the seller. Dare I say, not a Hohner Pokerwork. Still to be purchased.
 
Yes, its nice to find a box that suits you and you enjoy playing but it takes time to feel comfortable and at one with the instrument, no matter what make or model. The joy for me is buy and try. Even if I end up with a closet full.

[Tufty]

Lots of people mention the Pokerwork but I would advise anyone thinking of a Hohner to try an oldish Erica. The insides are the same but the case is much more comfortable to play. They do need the button travel limiting, just like pokerworks. However chaps like Theo can sort that out for a very reasonable fee. I have had an Erica for over 25 years and it has never let me down and it still gets used despite my now having a posh Italian box.

[Rob2Hook]

If you take your time and ask nicely, most people will let you try their box - so long as you aren't wearing braces, big belt buckle or zipped jacket! (normal morris gear)  I find most beginners/intermediates have reached the stage of wondering whether their perceived limitations are from their own ability or the boxes.

I've never leant my best box to anyone without having to prize their fingers off it to get it back.  It may not be that a new box is needed, but it's nice to know that you're not doing bad whilst fighting with a cheap(ish) box.  I also have a Chinese Pokerwork and it's c++p, but I still use it in the Border band, but whilst I can put up with the action, the reeds are just too variable in performance.  Recently got very tempted by a good German Erica and just missed a Swiss one (damn).

Rob.

[Martin J]

Erica's have been recommended.  I to have a cosatlottie and an Erica which I wouldn't dream of parting with.  Theo often has such boxes as does Mike in the southwest.  Old ones are best.

[Graham Spencer]

I've had a couple of Ericas - in fact my first ever melodeon was an Erica - and they were both very nice boxes. Yes, the treble action needs limiting but they do sound good.  I must admit I don't like the look of them as much as a Pokerwork, and the 30/40-year old one I referred to above played better than either of my Ericas of roughly the same vintage.

[Owen Woods]

I've had a couple of Ericas - in fact my first ever melodeon was an Erica - and they were both very nice boxes. Yes, the treble action needs limiting but they do sound good.  I must admit I don't like the look of them as much as a Pokerwork, and the 30/40-year old one I referred to above played better than either of my Ericas of roughly the same vintage.

Eh? The pokerwork has to be the most unpleasantly hideous commonly available box.

[Lester]

Eh? The pokerwork has to be the most unpleasantly hideous commonly available box.

You are not a fan then 

[Graham Spencer]

Eh? The pokerwork has to be the most unpleasantly hideous commonly available box.

No, that would be a Castagnari.......... or maybe a Serenellini.........

[Graham Spencer]

Joking aside, and to clarify my last post a little, I'm not a great fan of boxes that look as though they've been made by cabinet-makers or (even worse!) woodwork teachers; accordions are not pieces of furniture, they're instruments made to be played.  My original comment actually only concerned the aesthetics of the Pokerwork vs the Erica.  The Pokerwork looks the way it sounds, if you see what I mean; the Erica is plasicky, juke-boxy and generally rather tacky, while the Pokerwork is a no-nonsense, no-frills workhorse of a box. Maybe that's why I own one Saltarelle and 8 Hohners..........

[Fidjit]

that S said he'd do over a year ago and never has).

Rees has been to Suffolk and has slowed down.

Cheers Chas 

[Owen Woods]

Eh? The pokerwork has to be the most unpleasantly hideous commonly available box.

You are not a fan then 

Erm, no. Although I have to say that I am more of a fan of celluloid than I was, as long as it's applied with taste and no rhinestones. However, a well made wooden box is a beautiful thing

[ladydetemps]

Eh? The pokerwork has to be the most unpleasantly hideous commonly available box.

You are not a fan then 

Erm, no. Although I have to say that I am more of a fan of celluloid than I was, as long as it's applied with taste and no rhinestones. However, a well made wooden box is a beautiful thing

My opinion hohners are, I like the sound but not the clackity buttons. And bar one every pokerwork I've ever tried has been a pig to play and I've ended up aching afterwards.

[Lester]

My opinion hohners are, I like the sound but not the clackity buttons.

The clackity buttons are optional, I am about to reveal my Super Pokerwork which has no such buttons.

[Graham Spencer]

Hohners - the Marmite of melodeons.  You either love 'em or hate 'em.  Now personally I can't STAND Marmite - even the thought of it makes me feel queasy; but give me a nice old Hohner, clacketty buttons and all...............

[Graeme]

(although Scottish music sometimes sneaks its way into Irish sessions on the dubious grounds that it's "celtic"). 

Can it be true that Scottish music is not celtic? Shock, horror!!! Me thinks this may be a tad mistaken!

[george garside]

(although Scottish music sometimes sneaks its way into Irish sessions on the dubious grounds that it's "celtic"). 

Can it be true that Scottish music is not celtic? Shock, horror!!! Me thinks this may be a tad mistaken!

I don't think Scottish music 'sneaks' into irish sessions - it is taken on board  willingly  because of its intrinsic merit.

george

[Graeme]

(although Scottish music sometimes sneaks its way into Irish sessions on the dubious grounds that it's "celtic"). 

Can it be true that Scottish music is not celtic? Shock, horror!!! Me thinks this may be a tad mistaken!

I don't think Scottish music 'sneaks' into irish sessions - it is taken on board  willingly  because of its intrinsic merit.

george

Not wishing to get any more off topic but I agree George. It is inextricably linked and as celtic as you get!

[Martin J]

It seems that by straying into provenance, the old rivalries of ownership have raised their ugly heads again.

If we leave out Irish and Scotts we are still left with Welsh, Northumbrian, East Anglian, Devonian and other regions of England (Opps, sorry Wales) who all play in different styles.  The tunes are of course in many cases arguable as to where they originated as we see in many threads on this site.  People who learnt in isolation before the internet etc often remembered snatches of a tune which they then pieced together.  A recent offering on melnet had The Cliff as an A part and Harvest home for the B part with a claim of the whole having been recently written.  I don't believe there is any malice in such claims just they have no recall of how the tune got in their head.

So, it must all be about how the tune is played which raises the further question of if an trad celtic tune is played in an English style how is it classified?

This maybe a good one for Clive, tune of the month, one culture played as another.  Maybe this already exists on Youtube (everything else does !!)