So if 50% of Cajun is found in C....what is the other 50%...
And so on for 30% of Bb in Zydeco...key of the other 70% ?
Here's my 2 cents for what it's worth. After the C the D is the box to get. It is especially good jamming with non cajun,zydeco players. Fiddles love D and A and won't have to tune down if they even know what that means. Plus, you can play some good rock 'n roll riffs in A and make everyone happy. And, once they hear the box, who knows, you may be able to get them to play more cajun, especially if you can sing a few tunes for them. Check out ebay for an Audio Technica 35. I got one there that I use for the banjo. Works for the box too but I use the internal mic. If you could work up Willis Prudhommes "Speed Bump" in A you would really get that jam going. It's on Li'l Anne's CD. You can get it on her web. www.lilanneandhotcayenne.com
Wasn't clear if your jams would be oriented towards Cajun and zydeco, or go over into other categories like old time fiddle tunes, Irish music, or campfire hits of the 60's. Also wasn't clear if you have the intention to sing.
When you get into Irish, Cape Breton, Quebec, or Appalchian music, A, D, and G are the predominant keys, with D being the most prominent (this is my impression, not the result of a scientific study).
To extend Larry's thought: most other instruments (including fiddles) can adjust to the key of the accordion. On the other hand, if you're looking to throw a few notes in on a tune others are already playing, you would probably find a D box handy, or a two-row A/D or D/G.
I'm sure I'm not the only one who posts here who has driven themselves nearly mad trying to decide what keys they really need to play the music they think they might be playing in a year...the speculation on the next box is part of the pleasure/pain of accordion playing!
Stevie "Blue" Blais
So thats a confirmation that the AT35 is the model to get, nothing with a "x" "pro" or anything huh ?
Johnny, maybe Ill track down Lilanne and co and catch the tune in person, tx for the shameless plug to buy the CD though....I may do that as well.
Hey Steve thanks for the response....Patrick here... You helped me out at the Caz coffee house a few times.. Boozoo Theme is working, and a few others as well... I wanted to get out to See Rosie and maybe even help set the stage up but I was playing with The Rounders that night, missed you at the roots again too....working the percussion but Ive been working my Honer into Orange Blossom Spec. and on Seminole Wind...
Anyone have a comment on the prev question of...So if 50% of Cajun is found in C....what is the other 50%...
And so on for 30% of Bb in Zydeco...key of the other 70%
The standard mic for both internal and external use on a Cajun accordion is the Shure R-65. It is much cheaper than the condensor mics, although bulkier. You can get them from Larry Miller and other builders.
It used to be that the R-65 mic was about the only type you would see in use. What I observed during the 90's was that some players began to experiment with the smaller, but much more expensive (and fragile) condensor mics. But after a while, I noticed a return to the R-65. I asked some players about that, and was told in several instances that even though the condensor had a good clean sound, they were finding that the sound was TOO clean.
I had been considering going to a condensor mic during that time, but didn't jump on it because of the expense. In the end, I decided to skip it entirely, and stick with what I already had. Additional factors that went against the condensor mics was the difficulties in how to clip them on securely (many complain that they don't stay in place very well), and also the thin and fragile wires that seem to break easily. It began to seem that condensors were all around losers.
Following all that, I joined a different band that was all Zydeco and little or no Cajun, so that was then end of using the external mic anyway. I have the same R-65 mics internally in most of my accordions now, except for two in which I installed the mic element of a Shure SM-57 which has a hotter signal.
Thanks David.. Ive heard some similar things....and Im currently using a 57 on the outside and there is some blaze to it. Most in the audience here have little regular exposure to the button box. So I guess I get an easy out there in most cases.
Since I fairly sure my eventual playing will be with an electric band, Im starting to figure an internal mic is best if not to just be able to isolate the sound....
The choice between internal and external mics depends on the type of sound you want. Even with the exact same mic, the results are VERY different. If you want to go for a Cajun sound, it is best to have the mic on the outside. This gives a nice clean sound. But for zydeco, it is better to put the mic on the inside. This creates that cool muffled sound that we associate with zydeco greats like Keith Frank(the sound is somewhat like what a blues harp player gets).
On my D accordion, I have the option of switching between internal and external with the flip of a switch. I suppose I could even use both at the same time, but I haven't tried that. Lately, I find that I just leave the external mic at home.