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[Daddy Long Les]

Ok I've been playing for nearly a year now.  As well as time spent on here I've also spent many a happy hour listening to various boxes and box players on You Tube. I started, like most people, with a DG Erica, quickly picked up a lower pitched GC Erica and after 6 months also bought a Saltarelle Connemara 3. All lovely boxes in their way but it strikes me that the sound I really like is the Andy Cutting Mory or Anahata's Dino/Oakwood Super. These seem to have what I would describe (in my ignorance) as an almost soft, harmonica-ish sound which sounds great played quietly but also cuts through when needed with superb clarity. Also really like the Saltarelle L'Elfique which seems to have a similar quality.  I know this is completely subjective and there will be loads of you who have different boxes that you swear by (at?) but it would very interesting to hear what other people aspire to owning.

[Theo]

A couple of things:

The Castagnari Mory "sound"  is actually very varied.  In about 1999 I had exactly the same thought and ordered a new Mory, it was disappointing from the moment it arrived, and other players I know who bought new Morys at that time had a similar experience.  There was something about the way they were made at that time that produced thin sounding boxes that are hard work to play.   I've since been fortunate enough to be able to buy a Mory that would have been built in the late 80s and it is a complete delight to play.  So there can be big differences between individual examples, even with Castagnari.

These seem to have what I would describe (in my ignorance) as an almost soft, harmonica-ish sound which sounds great played quietly but also cuts through when needed with superb clarity.

In the case of the Mory that quality comes from two additional factors (1) superbly accurate and crisp playing, and in (2)the case of Mr C, playing an LMM box in the top octave.
And in the case of the Mory it is a very much bigger and heavier box (which is a lot to do with how it sounds) but also requires a different playing technique if you don't want to get stress related problems in your arms and wrists.

Also really like the Saltarelle L'Elfique which seems to have a similar quality.  I know this is completely subjective and there will be loads of you who have different boxes that you swear by (at?) but it would very interesting to hear what other people aspire to owning.

To my ear the Elfique has a completely different sound, and much more typical of a Saltarelle, brighter and more brassy than a Castagnari.

[Daddy Long Les]

A couple of things:

The Castagnari Mory "sound"  is actually very varied.  In about 1999 I had exactly the same thought and ordered a new Mory, it was disappointing from the moment it arrived, and other players I know who bought new Morys at that time had a similar experience.  There was something about the way they were made at that time that produced thin sounding boxes that are hard work to play.   I've since been fortunate enough to be able to buy a Mory that would have been built in the late 80s and it is a complete delight to play.  So there can be big differences between individual examples, even with Castagnari.

These seem to have what I would describe (in my ignorance) as an almost soft, harmonica-ish sound which sounds great played quietly but also cuts through when needed with superb clarity.

In the case of the Mory that quality comes from two additional factors (1) superbly accurate and crisp playing, and in (2)the case of Mr C, playing an LMM box in the top octave.
And in the case of the Mory it is a very much bigger and heavier box (which is a lot to do with how it sounds) but also requires a different playing technique if you don't want to get stress related problems in your arms and wrists.

Also really like the Saltarelle L'Elfique which seems to have a similar quality.  I know this is completely subjective and there will be loads of you who have different boxes that you swear by (at?) but it would very interesting to hear what other people aspire to owning.

To my ear the Elfique has a completely different sound, and much more typical of a Saltarelle, brighter and more brassy than a Castagnari.

Thanks Theo. Just had another listen to the Elfique and yes, I see what you mean.  Lester had a similar experience with a Mory I believe.  It's so weird, this time last year I couldn't have even told you what a melodeon was.  I then stumbled upon Jimmy Shand's video of The Bluebell Polka and I was hooked. First of all I was really into that wet Morino sound and I guess over time my taste has got drier!

[Lester]

Really just backing up what Theo said. The Mory is a very heavy box which is the main reason I sold mine, mind you it was a Friday afternoon box and the build quality was not that good, fortunately Hobgoblin were able to improve it but not what you expect from what was a v expensive box..

And the L'Elfique has a very different sound to a Castagnari. I am a big fan of the Saltarelle raspy almost hurdy gurdy sound but not to everyone's taste.

[Daddy Long Les]

These seem to have what I would describe (in my ignorance) as an almost soft, harmonica-ish sound which sounds great played quietly but also cuts through when needed with superb clarity.

Have you ever listened to a 3-voice (LMM) Giustozzi with Binci hand-made reeds?

No but could you point me to a video/audio file please?  Sounds interesting!

[Chris Ryall]

I've got a simple "swing" M+M tuning on the Oakwood - had yet another complement on it's tone this weekend  . 

When I bought a Gaillard, he offered the same, but I purposefully had it in L+M bandoneon tuning "to have a different sound". I'm still glad I did that.

As I suffer from "MAD" a 3 voicer has been commissioned from Frans v.d Aa. It will have both combos available on a session friendly D/G. I've already been offered a completely stupid sum for the Oakwood!

Theo - you've just tuned up the Oakwood (thanks) - why is it's sound so agreeable?

[Daddy Long Les]

I've got a simple "swing" M+M tuning on the Oakwood - had yet another complement on it's tone this weekend  . 

When I bought a Gaillard, he offered the same, but I purposefully had it in L+M bandoneon tuning "to have a different sound". I'm still glad I did that.

As I suffer from "MAD" a 3 voicer has been commissioned from Frans v.d Aa. It will have both combos available on a session friendly D/G. I've already been offered a completely stupid sum for the Oakwood!

It would be nice to hear your Oakwood.  Do you have anything that you could post for us?

[Mcgrooger]

I think that one of the main factors in which box sounds best is what type of music you're playing on it. The Mory's an awfully big beast and is very versatile but I wouldn't want to play one all night at a gig. Fine for sensitive playing especially music with complex harmonies but hard to get the bounce for a jaunty English polka or morris tune. On the Saltarelle/Castagnari front, I have a bit of a feeling that it's a bit like Windows vs Apple or Fender vs Gibson. In the end, you sort of feel you belong in one camp as opposed to the other.

[Mcgrooger]

Yay - I've just become a 'respected sage'.

[Theo]

I've got a simple "swing" M+M tuning on the Oakwood - had yet another complement on it's tone this weekend  . 

<snip>
Theo - you've just tuned up the Oakwood (thanks) - why is it's sound so agreeable?

Swing tuning (in the sense of a very slow beat 1.5bps or less) is I think the hardest tuning to get right. It requires a combination of pitching the reeds within a very close tolerance and also listening very carefully and training the ear to focus on the fundamental beat, then making very tiny changes to get the sound consistent across the range. I find it impossible to get right by just setting each reed of a a pair to the theoretically correct pitches. Because of the way the pitch changes with playing pressure the only way I can get it to sound right is by paying close attention to the sound of the two reeds playing together and inside the box.  There also has to be some fudges to the tuning of the lower pitches or they sound too wet, and the whole thing is sensitive to things like the tightness of the reedblock clamping.

[Pete Jackson]

I have a Mory which I am very pleased with and which gets compliments for tone etc.. When I first got it though I did wonder how I was ever going to manage the size and weight but it is surprising how quickly you do get used to it. Mind I always (or nearly) play sitting which makes a difference. One of the beauties of the instrument is the 1/2 row containing accidentals and reversals which are so much easier placed than on the end of the rows - I think this makes a big difference to how the instruments can be played, giving choices between bounce and and fluidity and therefore on the sound and style. In other words think about layout and what you want to play as well as the tone of the box - in my opinion it matters and doesn't take too much to get used to using the 1/2 row.

[Daddy Long Les]

Yay - I've just become a 'respected sage'.

Steve I've always respected you!!!

[IanD]

I have a Mory which I am very pleased with and which gets compliments for tone etc.. When I first got it though I did wonder how I was ever going to manage the size and weight but it is surprising how quickly you do get used to it. Mind I always (or nearly) play sitting which makes a difference. One of the beauties of the instrument is the 1/2 row containing accidentals and reversals which are so much easier placed than on the end of the rows - I think this makes a big difference to how the instruments can be played, giving choices between bounce and and fluidity and therefore on the sound and style. In other words think about layout and what you want to play as well as the tone of the box - in my opinion it matters and doesn't take too much to get used to using the 1/2 row.

The 1/2 row isn't the issue (there are plently of smaller lighter 2 1/2 row boxes), the size and weight are. Yes you can "get used to" it, if by that you mean adapting your playing style to deal with it -- of course if you play across the rows to start off with this might not be needed. But no amount of right-hand dexterity can make up for the sheer mass of a Mory if you want to keep that bouncy English style with lots of up-and-down-the-rows and little or no row-crossing, and I do ;-)

I guess it's a difference in attitude towards how to play -- the more "English" style (what I do) stays mostly on one row and uses row-crossing only when necessary because either the notes aren't there or the basses don't fit otherwise, and positively prefers the punchy sound reduslting from all the bellows direction changes. The more "continental" style crosses rows much more often to avoid bellows reversals and get a more fluid sound with continuo chords, and uses push-pull only where necessary because note runs aren't possible in one direction -- the preference is to use cross-fingering instead of bellows reversals.

Of course there's a continuum of styles between the two extremes, but the essential difference is whether to avoid row-crossing where possible or prefer it.

[Ollie]

And the L'Elfique has a very different sound to a Castagnari. I am a big fan of the Saltarelle raspy almost hurdy gurdy sound but not to everyone's taste.

It's funny how things sound different to different people... I'd definitely say the Saltarelle sound was more rounded than a Castagnari, but I find raspy and almost gurdy-like.

[Lester]

On mature reflection I don't understand why you are still looking for the perfect sound when you already own two Hohners?   

[Chris Brimley]

The button accordion particularly (and music generally) is at heart diverse.  Perfection is chimera, and no attempt to find it will ever succeed, IMO.  All you can do is to follow what you like, from time to time.  (Crosses fingers!)

[waldoB]

That's why there's a Buy & Sell section

[Daddy Long Les]

On mature reflection I don't understand why you are still looking for the perfect sound when you already own two Hohners?   

Lester - you know that I'm the most immature 59 year old on here!!  Some people never grow up.  I'm still like a small child waiting for his next toy!!
Maybe our long suffering wives/husbands/partners should have their own forum.  Melodeon Widows.Net?  Any other suggestions for a name?

[Spikey]

Maybe our long suffering wives/husbands/partners should have their own forum.  Melodeon Widows.Net?  Any other suggestions for a name?

For mine it would be AreYouStillPracticisingThatSameBl**dyTune.net

[Daddy Long Les]

Maybe our long suffering wives/husbands/partners should have their own forum.  Melodeon Widows.Net?  Any other suggestions for a name?

For mine it would be AreYouStillPracticisingThatSameBl**dyTune.net

Well said Spikey.  Mine would actually be ILoveItWhenYouPlayTheGuitar.net