CAJUN ACCORDION DISCUSSION GROUP
I play hard, and was just told by a builder that Binci's are the best choice for someone like me. That's a very narrow answer to your question, but its all I've got.
Binci's are good I'll say that. But honestly to me in a B flat accordion Antonelli reeds sound better. I have played 3 B flats that had Binci's and they sound great but they're not as responsive as the 2 B flats I played that had Antonelli's in them. It wasn't really a preference thing because I didnt ask what kind of reeds were in them until after I had played on each of the boxes.
My personal opinion goes with John.
I think that the Antonelli's are just a tiny bit thinner reed.
That means three things to me.
1. It will take a little less air to play, and a Bb box will draw more air than a "C" box to start with.
2. The reeds are not quite as robust. If you over play, risk of damage is greater.
3. They will be just a little bit softer in volume than the Binchis, but with an internal mic, who cares?
So, it's a matter of taste, sound, application, and emotion. :)
I am like you - I play hard. I know that I might be better off if I were to lighten up a bit, but that is just the way I am. I am the same way on bass. Ask Soundhound. When I used to play bass in a band with him, I actually BROKE bass strings early on! That is a rare phenomenon, I can assure you. I did finally let up on bass, and I have not broken a bass string in all the time since then (over 15 years).
Anywho, it would seem that the builders advice to you is good for me too.
On the subject of breaking bass strings, This guy that plays in one of the bands I play with every so often is such a rough bass player that he breaks a string atleast every 3 months...I cant understand it!
Those are all the top name brands -- it's hard to go wrong. It depends on the builder's preference, too. Randy Falcon uses Bensi and, in general, Bbs are thick enough to give'em a hearty push n' pull without much worry. Any key above Bb you run a greater risk of snapping 'em -- especially after a few Budweisers. Another thing to keep in mind is to get a [wet] tuned box. It'll give you an extra flavor -- more zydeco -- than dry tuned. You can still disable the wet knob for that dry sound, too. A wet tune will also cover up an a reed that has gone a little sour, don't ya know.
Whether to tune wet or dry is a matter of personal preferance, and that is fine. However, it is somewhat of a myth to say that zydeco requires or is better with a wet tuned single row button accordion. Yes, there are some very notable players such as Geno that prefer wet, but the players of dry tuned boxes far outnumber them.
I am not quite sure how this myth got going, but I have a few theories. First, in zydeco, we typically use internal mics rather than the external mics used in Cajun music. This changes the sound quire a bit, and to some ears, it might sound more wet. Also, in zydeco, you are as likely to hear single row and triple row button accordions as well as piano accordions. OK, well, the single row accordions used in zydeco are predominantly just as dry as the ones used in Cajun music. But, the triple rows and piano accordions are invariably more wet tuned because they were imported, and that is just the way they are made. There isn't much opportunity to request different tunings as in the case of a custom built single row. If you combine that observation with the fact that many people cannot distinguish the type of accordion used in a recording, you can see how people mistakenly assume that ALL zydeco accordions are wet, even though it is really only on the imported triple row and piano accordions.
You also can request "how wet" you want your box. If it's extremely wet, I find that chords don't sound as good to my ear. If it's slightly wet (5 - 7 cents) the chords sound better to my ears.
BUT some Zydeco players don't play as many chords as heard in Cajun.
Chords sound best to me in dry tuning though.
As David said, it's all a matter of taste.
Yeah you right, David. I personally like to use both wet and dry tunings. I guess it depends on the tune, really. Dry tuning definitely has a clearly-defined modern sound, IMHO. And that old-timey smokey bar "live" sound, makes me think wet. Maybe it was the poor recordings made in the 40s and 50s. Someone who I admire a great deal who is doing something different today, is Travis Matte & The Zydeco Kingpins. A lot of his tunes are played with wet tuning which is a real kick -- the way he plays -- similar to Geno. So really the tuning preference doesn't have anything to do with the best reeds to use for Bb. Sorry I got out of the thread -- but for someone considering a Bb, having one stop tuned wet offers the player that additional option. Something to consider when buying a new box. Great conversation, y'all.
yeah you right brother dave..
what he said!
i will spotlight the guy who has the wettest
cajun accordions known to man - bruce daigrepont.
they sound like a calliope to me..
May sound funny to y'all but I like the wetness of a Morelli accordion best. How many cents wet are those cheap reeds?
how many cents?
those accordions are wet because they
are mistuned, more than anything else.
they are going to be all over the map
as far as wetness goes.
some buttons very wet, some dry.
Maybe that's why it sounds good to my ear? Old sounding, out of tune
I'll make a recording today of my D Morelli (aka arriette). I personally don't like how these accordions play, but I do like the sound.
Don't get me wrong, I would rather play my handmades anyday!
Cool! I'd like to hear it.
I've heard the "wettest" tuning is called, "Columbian wet." An accordion guy at Brook Mays Music in Dallas, told me that. And me, also being a fan of Vallenato music, I believe it. It's just a preference... I like it wet and like it dry... it's all good... just gimme the accordion... the perfect instrument...