Run a single pitch through an Agilent Spectrum analyzer
in order to decompose the spectral content.

Then, apply a fast Fourier Transform and digitally
filter out the offending harmonics.

Then, re-digitize at an adequately high Nyquist frequency
and apply digital filtering or very steep analog
filtering, being particularly mindful of any
incidental phase noise distortion.

And .. Voila! Sounds just like metal and wood!

(Point, being, you're kind of stuck with the fundamental
sound that the engineers gave you ..)

But, best of luck in your experiments!

--bn

I have been completely satisfied with mine. I settled on this particular accordion because I was conflicted between buying a triple row, or a chromatic button accordion. A triple row would limit me to the keys I can play in, and a CBA would take me a while to learn. When Roland's customer service rep explained to me that I could program the keyboard to a chromatic tablature, it was a no brainer, for me.

There are twelve accordion presets available, but I only use two of them. The "Cajun" setting isn't really Cajun, instead, sounds alot like Clifton Chenier's accordion. The "Alpine" setting is a fat LMMMH setting and sounds like the honking Gabbanelli's that I have heard.

All of the nuances of an accordion such as valve flutter, wind velocity are built into it. It is true that while played alone, an accordion player will notice that it is electronic, but most listeners do not notice. When played in ensemble, it is very convincing and sits well within the mix. The wetness of the tuning and the amount of reverb are completely customizable. When Chris Miller played fiddle with us a couple of weeks back, he commented that it sounded very good in the mix.

I don't see it as a lifetime instrument, for me, but it will definitely get the job done until I am comfortable enough to purchase a real CBA.

Do you have any pointers on setting up that CBA configuration? Seems that was discussed on here one time by Larry, and he seemed to think it didn't work.

I wouldn't mind trying some CBA myself. Awfully hard for me to interpret Chenier's stuff over to the diatonic. Have to rely on Rockin' Dopsie as my interpreter.

I printed out a CBA keyboard layout, then started on my outside row with the C3 and just followed the keyboard. It is just a three row CBA. The fourth and fifth rows are duplicates of the first and second. They allow for alternate fingerings, but I'm not worried about that, right now.

As a sidebar, I haven't found an Clifton songs that couldn't be duplicated on the three row. You have to think outside the box and stay away from 1st and 2nd position. 3rd and 4th position open up some really cool opportunities.

sell it and buy a real piano accordion, also food for thought,

if you were running your power by a gas generator, it will create the hum you're talking about through the PA. Experienced that annoying issue a couple of times, but you don't really hear it unless you're not playing. Another thing to consider is going to a professional sound engineer to learn how to set your PA right. Best thing I ever did. Rule 1 set your gains first, and you never run out of slider.

I am very happy with mine. I was trying to learn a couple of Chris Ardoin tunes (Master Key) and found he was playing on an EAD. No problem. I like the Hammond B-3 sound mixed with the Accordion. I don't know which voice I ususally play it through but tonight I will check out the "Alpine" voice. I may be using that. I try for the biggest fattest sound I can find with all stops open. Two biggest advantages next to covering every key, which is huge, is being able to practice through headphones and no feedback at gigs. Plus it is a very fast box to play.

"I had not noticed the sort of digital buzziness to the tone (most noticeable when playing multiple octave voices together, voices of the same octave doesn't matter much), until one of the dancers mentioned "what's up with all these digital accordions? I hate the sound. It's rough on my ears." And after that, I started hearing it."


I have not noticed digital buzziness. I often play mine through headphones and I have always noticed how clean it is - maybe TOO clean. I kinda like the light reverb that they add to the sound - only noticeable in headphones.

Maybe the problem you are having is that the gain might be too high on your mixer and it is starting to clip. Does you board have a little light that goes on when clipping is occurring?

Does running your accordion output through a DI box then to the amp help?..might be a ground effect issue?

We have a mando player with an internal pick up fitted to the instrument, who plays through an LR Baggs FX and a DI unit but he still gets a buzz....and our electric bass player still gets a hummm from his Fender...very annoying but can't seem to stop it.

I think a lot of it is just stuff that happens when you gig...the various venues emit variable interferences....or so the electronic geeks tell me. Unless the buzz is way outa control I say just get on with it, pump up the volume and entertain the punters!

The only time I can see it being an issue is in the recording studio..but those engineering guys have ways and means of fixing that.

It's not the hum of line interference. It just seems like something else, like an artificial waveform.

It could be a number of factors. I'd have to hear more of them being played live (hey Dana, when's your next gig?).

Ok, here's part of the problem. I haven't recently gone through all the sets on the instrument. I was just using the set that is in place when you fire up the machine. I was using the third button, pressed twice, to red, and it is not so great. some of the others sound pretty smooth.

I only dial it up to where it clips a little, then I back it down a bit.

Through the headphones it sounds ok enough. through my mixer, no effects, and then into my Eon 15, I can detect some graininess.