I own 2 Masters and was good friends with Mr. Chalie Ortego. I got to play many boxes before they were delivered to their owners. I have also played other people's Martin box...probably about four different boxes. I will try to compare based on what I know:
Master--more 'handmade' looking in that he tended to make one box at a time and followed pretty much the same pattern, but not always. Mitered corners. He made everything...stops, wires, buttons...the only thing he did not make were the bellows and the reeds. It is not uncommon to find some accordions with rounded fingerboards, square fingerboard, or something in between. The bass boxes also changed in shape and size throughout the years. The metal corner trim changed in design and shape and the stops were never standardized. The boxes were always tight and play well. He used many different types of reeds and there is a lot of variation out there as to the sound and response. Because he made so many boxes for so long, the earliest examples have paper bellows and old style pickups. Wood type is usually maple or curly maple. Very few truly exotic...although I do remember some purple heart and zebra wood boxes. Probably painted just as many as stained. Many of the brightest and wildest colors were favorites of the Zydeco players.
Martin--very standardized box, with many parts premade so that the only thing to do when a box is ordered is to fit the appropriate parts together. Butt joint corners. (I think I am remebering that right...if not someone chime in) Very precise in fit and response. Many exotic woods available. Inlays and bellows design are common. Very responsive and usually loud. Because these instruments are made so alike, if you have played one before, you pretty much know what you are getting. There is little variation in design, sound, or quality.
Bottom line, both are good boxes but there is much more variation in the Master. He made some very inexpensive models and also some very elaborate ones...the majority are mid-level in design and reed quality.
I like Master and Martin both...I don't think I will ever part with my Masters although I have often dreamed of purchasing a Martin.
My Bb Master is my primary box for gigs and has stood up to years of heavy use. I really like Charlie's idea of Cajun standard tuning.
I do not own a Martin, but I have played 4 or 5 that are owned by friends. I don't know how representative they were, but all of them were tuned much wetter than my preference. It seems that Jr. really likes wet tunings and that is probably what you will end up with if you don't specify otherwise.
A while back I sent him my Master when Charlie was not available for a small repair job. He called me and said that the tuning was way off, which surprised me as I hadn't noticed that. But since it was already in Louisiana, I figured, what the heck, might as well get it tuned. When it came back I hated the tuning - it was very wet and inconsistent (some notes MUCH wetter than others). I wrote him a polite letter asking about that and he never answered.
This is very anecdotal of course, and I know many people absolutely love their Martins. Maybe I was just unlucky.
Don't know if this applies in this situation, but I know that Mr. Charlie always let his ear be the final guide on the tuning. He used a strobe tuner and a chromatic 'needle' type tuner, but he never just trusted the machine. He would adjust until it sounded right.
One thing I have noticed is that a reed responds differently if it is tuned "in the accordion" with all the stops open than if the reed is removed and placed on a small tuning block. Air pressure and all, I would suppose. I notice that Randy Falcon tunes his reeds based on a very strong compression of the bellow. It seems like some of his accordions sound sharp when played with a lighter/softer compression. When you bear down, though, then the pitch is in tune.
I have had studio engineers comment that my Master sounds more in tune than many of the other accordions that they have heard. You are right in that tuning is not only a science...but there is a bit of an art to it...and a person's ear has to be the final judge.
I have heard many in tune Martins, however. I know some people like a wet tuning and actually request it, but I have heard many dry Martins.
David,
About the wet tuning. Jr usually tunes them dry unless specified wet.At least, that was the case 2yrs ago when I purchased mine. It is always better to speak with Jr as opposed to writing. I would suggest calling him. I would be surprised if he wouldn't take care of you.
I just had mine wet tuned slightly. I think the term is nickel or 5 cent wet tuned as opposed to full wet.
Loud accordions, I find Larry Miller's accordions to be much louder than any other brand.
Hey Kirk,
I own both, Martin and Master. My Master is a dry tune in D and my Martin is also a D with a wet tunning. Any difference? One difference I have notice is that the fingerboard on my Master is slighty shorter in length. It seems like my fingers are curl more when I play my Master. Both good instruments, I love playing them both. When I put them side to side, I do not see any other difference in appearance. The Martin has a thicker varnish coating is about the only other difference I can see. Sound wise, they both rock, in my own words.
Later gater
Mark S
The April 2011 Dewey Balfa Cajun & Creole Heritage Week
