I've reposted this, as it seems a good point for discussion:

I really don't quite understand why one hand-made LA accordion would handle better than another if the strap adjustments and the depth of the keyboard are the same. Sure, round plastic buttons feel different than the flat topped metal ones (I prefer the metal), springs of different gauge make the keys softer or harder to press, wood used for the frame affect the overall weight. The shape of the reed blocks affect air-flow, volume, tone etc.
The strap adjustments do seem to be one big variable...large hands, small hands and such. Then there are the factors of different reeds, tunings, etc.
What is it about the "workmanship" of an Acadian or a Martin or a Bon Cajun or a Poullard or a Miller or a Falcon or a LeCapitaine or a Bon Tee etc that distinguishes one from another? (other than price) A big question that has so many very "personal" aspects. There seem to be significant differences between individual boxes made by the same builder. The nature of hand-made machines, I suppose.

I'm still learning about all this stuff.

Once you have reached a cetain level of playing skill, the nuances of the instrument make a big difference.

Often one fiddle player or banjo picker will condemn the sound or feel of and instument, while another will give it high praise.

So to with golf clubs, shotguns, tennis rackets and running shoes etc.

We all have diferrent body builds and one size does not fit all. Add to that opinions about intonation, materials and construction and the debate is endless; though it is often interesting.

RPr sez: "Once you have reached a cetain level of playing skill, the nuances of the instrument make a big difference."

Absolute genius statement with the hammer placed precisely on the nail head.

R!CK

Rick,
You might enjoy hearing about an interesting study that was done with violins. I say it might apply to accordions too.

They took a expert professional violinist and had him play behind a screen for a group of professional musicians and musical experts in the field of "classical" music.

The listeners were to listen to the tone and quality of sound of each violin played.

The violinist was given several violins to play. Everything from $500 to $20,000 strats. (no junk toys) All "playable" instruments.

The audience was then to grade the quality of the sound and tone of each instrument.

The end result was that none of the listeners could tell the difference between the $500 and the $20,000 instrument when it was played by an expert.

Morals of the story-
A good player can make anything sound good.

Don't waste you money on a $20,000 accordion, unless you have money to waste.

The next time you sound bad, don't blame the accordion!

DP

If you are not that good, the instrument can play an important role, though.

About the experiment, was it done in duplo? Was alcohol involved? What was the sequence? cheap-> expensive or other way around?

How professoinal were the professoinals? Were any unplayable violins already were out of the test? et cetera.

Gus

Excellent advice DP and a good illustration that I think a lot of beginners should keep in mind. Many of them think that if they can only get hold of one of those handmades, they'll be off to the races playing the tunes they love to listen to.

Sure, the weight, tuning, and cosmetic things are different on a handmade, but the functionality and layout is the same. If you can't play a Chinese box very well, a handmade is going to be just a difficult. There's zero difference in this regard.

So yeah, it isn't the box; it's technique and memory -- and those are things no amount of money can buy. You can buy all the instructional videos you want, but if you can't devote hours devoted to repetitious muscle-memory exercises on the fingerboard, you're not going to learn how to be a better player from osmosis.

My story is... I had a hot-rodded Hohner from Charlie Ortego back when I pulled my first few tunes. I couldn't wait to get a handmade. So, I dropped the next $1200 I could get my hands on and bought my first Falcon. I still sucked, but only louder and with improved tuning. In reality I could have learned just as much and just as fast on that Hohner than my handmade. BUT, my situation was a little different...

I was already playing rubboard in my first band here in Dallas, and we were already gigging. I was highly motivated to learn the accordion because of this, and set a personal goal of being able to play a whole set on the accordion within 6 months. Needless to say, there was rarely a spare moment when I wasn't hacking away until I achieved what I wanted. But that's how I rolled then and that's how I roll now. I've hacked away for 15 years and have always been in a gigging band since '93. Having a band will motivate the dookey out of ya.

For some, having a handmade means owning a piece of art -- or as you can see -- making an investment in something that retains its value; but improving your expertise on "J'ai Passe Devant Ta Porte" -- that ain't gonna happen without constant pracitce, some blisters and sweat. For me, the handmade aspect really had no bearing in the beginning. But months later when I introduced it on stage, it made all the difference in the world.

"So why all the handmade boxes, T-Richard?"

Welp, I finally hacked away and got to be a decent enough player -- and confident enough to deserve them. I'm no Toups or Keith Frank, but I've had the pleasure of being the opening act for both. Plus, I live 6 hours from Acadiana and I don't like boxes breaking so I went with quality. I'm also a key freak and can't stand playing more than 3 songs in a row in the same key. I'm more than just an accordion player; I'm a songwriter and entertainer and I've been lucky to carve a niche in the Dallas music scene. For me, that's all the motivation I need to be the best I can possibly be. I never take anything for granted.

That's my advice and opinion.

R!CK

I love your story Rick. Much wisdom there. I will always remember what Marc Savoy told me when I first called him about buying an accordion, he recommended I get a Hohner 114C and play the hell out of it for a couple of years first, then I would be ready to order a hand-made box. But I was too impatient to wait 2 years. Within six months I had found my used LeCapitaine and sold my 114. Now, after a year of playing, I wish I still had the 114, I realize now it was a pretty good box to learn on, like a first lover.

Of course, I'll never sell the LeCapitaine. I have gotten to be a good enough player to bring out its quality and will never settle for less when I buy my next box. (I can't stomach the idea of a Gabb King).

Now I've got a big itch to get a AcadianMartinMillerBonCajunFalconPoullardBonTempsLeCapitaine... in either D or A . Next I need to find a Band to play with. Maybe J.J. Barrera or Charles Thibodeaux can help.

Capt. E.

Hehe, I hear ya, Captain. You should definitely get together to at least jam with a rhythm section and some strings. You never know what might happen! The coolest thing is the fact your soaking in the biggest musician gene-pool in Texas. Austin is the shizzle and moreover they have more venues for roots music than the Monsterplex does.

It's frickin' maddening, I tell ya! A big area of 8 million people and all they wanna do is karaoke or listen to tribute/cover bands. It'sa enoguh to makemewannaaaaaah.. l;jfkdjfka;..... sorry... auhg! I just puked... I'm not sick, I'm just [cough] just makes me sick thinking about theee Dallasss ldkasjf... auugh! music scene. I need a change of clothes and subject... sorry... BRB...

R!CK

Yup, Dallas, the most cultureless society I've ever been to. I hear they got a pretty good zyde-reggae group though.

I was playing in the park recently and J.J.Barrera, the bassist for the Tail Gators, drove up, pulled out his Bajo Sexto and we jammed for a while. Having a bass line really helped the sound of several songs, also helps keep the tempo even. Yeah, I need people to play with. Been on my back porch too long.

Capt.

I'll meet 'ya halfway, in Houston, and we can jam with Cory!

There's an idea, a Texas Braves Jam. Maybe make it a regular thing, once a month or so. Find a good dancehall or honky-tonk, one of those old German/Cech ones three hours or less away from everyone.

Does anyone go to Kerrville Folk Festival? We could start a Cajun campfire jam. Show all those folkies how it is done.

Capt.

Ganey's got a good idea... Let's just all converge on Cory's place! Do a lil' dove hunting while we are there! lol...

Kerrville FF... I've been 3 times in my life; '92 and then in '93. I was still young enough to appreciate the whole post-Woodstock, neo-hippie world, with crowded camping, tofu, hydroweed, shrooms, white folks with dreadlocks, tie-dye, community showers, and a constant barrage of acoustic music from every direction, that seemingly never stops. Went back in '00 and realized how much I had changed -- or how silly it is to sing, "Puff The Magic Dragon". Must have something to do with hitting 40... like discovering the real meaning of Peace, Love, and Understanding...

Peace = Quiet/able to sleep or concentrate, preferably away from any other humans. Darkness, a bedroom, and air-conditioning helps generate peace.

Love = Enjoying a monogamous relationship with my wife, only my wife (not my wife and 2 other random people that stumble into the tent, asking something about a harem)

Understanding = Realizing one-on-one communication with your fellow Kerrvert doesn't always have to conclude with an obligatory, "...and that's why Bush is an idiot."

Plus, if you're gonna show those folkies how it is done, you need to at least be on the Threadgill Stage.

Thanks for reminding me of the heat, the sweat, the dirt, not sleeping more than 3 hrs a night for two weeks, thunderstoms rolling through in the middle of the night and flooding your sleeping bag, etc. I never minded the half naked women, though. The half naked men are another matter.

It can be a great experience, though.

A cajun band on the Threadgill stage?...Maybe the Savoy Family Band, but not many others. Did Beausoleil ever do Kerrville? The reincarnated Balfa Brothers probably couldn't get booked. "Trout Fishing in America" seems to play every year along with Peter Yarrow.


Watch out Cory, here we come!

Capt.

Hey.. say hi to J.J. for me please.. what a great guy. make sure you see Bradley Williams play .. he learned from Danny Poullard in S.F. in the 80's..and has some of the most heartfelt, powerful playing..and his Cajun French is great in songs.. with the Gulf Coast Playboys..

Glenn ( hope you are planning to go to the Tejano Conjunto fest first week of May in San Antonio !)

Bradley sits in occasionally with Charles Thibodeaux's band. I agree, Bradley is quite a good player. Didn't know he learned from Danny.

A good player can make almost any instument sound great but if you ask them why they like the one they play, it is usually discribed as the "feel", action or other intangible.

While sharing tunes around a campfire, I have at times handed my fiddle to a good player, just to hear what it should really sound like. It keeps me humble.

Happy Squeez'ens

I once saw Doug Kershaw playing his thirty year old Sidney Brown accordion and thought he should invest in a newer accordion because that one sounds like crap. A few years later, he sat in at a dance I was playing and played my new accordion. I realized then, that it wasn't the accordion.

I guess it goes both ways...a great player can make a dog instrument sound great, and a bad player can really kill a good instrument.

I guess Doug should stick with the fiddle...

I learned how good my LeCapitaine can sound when Charles T. played it recently.

Capt. E

He also shredded the hair off of my buddy's bow.

If you have ever seen Doug K play, he goes onstage with a bucket of bows and wears them all out by the end of the performance. Often enough using up a bow on only one song.