Hey Allen, I know my name may sound Irish, but I'm not Irish. LOL, but I can put down some beer when I really feel like it. Oh, and I never been beat in a fist fight either in a pub, bar, nor out in the street or while out in the country side. Well I may be half Irish considering my other daddy's last name and the fact that he was a Golden Gloves boxer, referee, and coach. With that said, I guess I can speak with a wee bit of authority when I ask and say this...
What the hell is a FR-18 man?! It sounds like some kind of US Air Force fighter jet. My God! What a question to break the freakin Ice with! How'd you find this place? You'd better come over here and sit by me before someone breaks a bottle over that red head of yours. ahahahahahaha! Just joking....so how arrrr yuh?
Ask the question on
Lol Hildreth. That was what I meant to say. Allen, go to melodeon dot com of some-ting like dat! You'll be more at home over there-the.
I have been using a FR-18 as my main triple row for several years now.
Do you have one already? If you do, then you know about the large variety of accordions sounds it has built in. The sampling is quite large.
I have not heard of Shand Marino before, and I don't know anything about Scottish accordions. But it's possible that something similar is already built into the FR-18. They don't characterize the sounds by any brand names.
The other thing is that there is a way to adjust the specific parameters of each of the built in accordion sounds. I have never tried it, but if you read the manual, it will explain what you can do. I'm pretty sure that one of the things you can do is increase or decrease the amount of wetness in the tuning.
Shand Marino = Wetter than a swamp.
Scottish "musette" tuning is about the wettest you can get. Way beyond French or Italian.
Link 2 Shand Marino in action.
It's an electronic one , no tubes :wink:
After 40 years you need to replace some electronic parts like elco's :grinning:
Have you try youtube for instructions.
Page 34 Manual (you can download it at Roland)
An accordion’s 8’ treble register may consist of 2 or even
3 reeds that are usually tuned apart to provide a richer
sound (accordionists call it the “musette effect”). One
reed is tuned slightly above, the other slightly below the
correct pitch (and the third, if available, is tuned “prop-
The FR-18 diatonic allows you to choose from among 15
different detune settings. These are called “1” (Dry),
“2” (Classic), “3” (F-Folk), “4” (American L),
“5” (American_H), “6” (North Eur), “7” (German L),
“8” (D-Folk L), “9” (Italian L), “10” (German H),
“11” (Alpine), “12” (Italian H), “13” (D-Folk H),
“14” (French), “15” (Scottish).
See “Musette Detune ” on p. 43 for how to select the
desired Musette detuning
That's it - that's the way you do it.
I assume that the numbers in that list of detuning setting refers to the number of cents. The descriptive names are, uhm, interesting? Not always an intuitively obvious relationship to the number of cents wetness.
In my description of what the Italians do.. it is at best arbitrary and no two companies agree.
It is best not to ask for a tuning by name.. but by
cents or, beats per second or tune it like
Pierre Dutron or something like that.
And the cents are at the middle of the keyboard.
And there are other names such as
and so on.
Those descriptions can't be by the number designation because
They are wrong !!!
Weird. Well, the marketing people probably got a hold of it and decided it needed to be more colorful or imaginative, even though the names have little correlation to anything real.