A bunch of old photos show accordions with bellows dividers.
I have only come across perhaps a couple of contemporary hand made accordions that have these dividers. One of which belongs to Joan (it's a beautiful accordion).
What I wonder is; Do the bellows with these dividers have a differant action?
Perhaps someone can explain why they used dividers in the first place, as opposed to one continous bellow.
I noticed that Greg Mouton uses a single divider in the center of the bellows on his accordions. There was not a noticeable difference in the bellows performance on the one of his that I played at his shop about a year ago, compared to bellows on accordions by other builders that I own, none of which have this feature. When I asked about its purpose, Greg's response implied that he included it for added support and stability.
Re: Re: Bellows Divider ...as in the picture above
Not sure if it's true, but it does make some sense. I was told that with a divider, the bellows cardboard stock pieces could be shorter before folding. Maybe it was cheaper than the longer pieces, or more readily available.
Steve
Re: Re: Re: Bellows Divider ...as in the picture above
interesting to know the "real answer". But in the meantime:
-Maybe they used more air and needed longer bellows? -Some of them played also with the air button open to 'save reeds' the rumor goes.
-About stability, could be a good point. Certainly todays bellows are more stable (and better quality, of course).
Decorative only! But I think for the older boxes it was necessary because longer bellows were either not available or too expensive.
Note: If you do it with a 20 fold bellows you will lose a fold effectivly making your bellows shorter. (Count the folds on Joanie's)
Re: Re: Bellows Divider ...as in the picture above
It is my humble opinion that modern usage of a bellows divider, other than for a bandoneon, is a design "affectation"...
Why anyone needs more than 16 even 14 folds is beyond me... with modern accordeons and modern bellows' stretching them out is "performance" oriented and not a functional necessity.
I would believe that the early use of dividers was because of the the current technology and materials available..
There may be some sort of cool factor but to me its kinda like a continental kit on a family sedan..
As the player of a Mélodie (fait en Québec) with double-bellows I can confirm the effects of it. The bellows divider serves as a time machine, transporting the player and listener back to the 1930s. The music sounds better and everyone seems to want to dance more and drink more eau de vie when the accordion with the bellows comes out.
So, in answer to your question, the divider is "only for show" -- or is it?
;)
-Andy
Re: Re: Re: Bellows Divider ...as in the picture above
You're right, but it's somewhat less tedious to make shorter bellows, so with a divider you essentially make two shorter bellows. I believe the Mouton double bellows are made by cutting a pre-made (Italian) bellows. The Quebecois builders buy pre-folded cardboard (also Italian) so they would actually make two separate (shorter) bellows that are glued to the frame.
I like the way they look on a one-row box. Combined with custom fabric (from boxer shorts or nightgowns) they make for a fairly unique box that is not overly flashy. ;)
-A.
Re: Re: Bellows Divider ...as in the picture above
Craig,
It doesn't really matter , as the joint receives a small metal decorative corners, and is covered anyways with material.
Graig, as an aside, Mr. Greg Mouton, "routinely" mitters all his frames (4) corners.
He also, recently told me, that he was going to use different striking Pallets or "Tappers" as he brillantly called them.
The new ones are going to be made of a synthetic material.
As you may know, theses have in most cases , shown a nasty propensy to swell their end grain, resulting especially after beeing painted, to a rather visually unsightly result.
Also his "Tappers" rocking arms, are made of a special alloy, meaning, that they permanently shine.
As you know most "arms" are made of cooper and are either hand or spray painted.
Nevertheless, I love the dividers on his accordions, and I know that you didn't ask for a "Report" but I thought that theses informations would be usefull to all.
Seal all end grain with hot hide glue and sand smooth. This will eliminate swelling and over absorption of any stain. Do the same for mitered cuts so the glue up is even and strong. I rarely use polyvinyl (elmers) or alaphatic (titebond) glue since it is not tolerent to heat and as a plastic, it creeps. I'm speaking as a Luthier, not a box builder though. Hide glue has a very long history and many pieces built with it are still holding strong after hundreds of years. only use hot hide glue that must be mixed and heated to no more than 145 deg/F. Any hotter and the collagen breaks down int geletin.
Who cares, right?
Unfortunately a mitered cut is all end grain. There is approx. 45% more surface area with a 45 deg. cut but you are gluing end grain to end grain. A weak joint as the glue is absorbed into the grain. Sealing the grain is highly reccomended. The beauty of vinyls and alaphatics is that all commercial guitar Mfgers use it and it keeps the $$$ flowing in my shop with a variety of repairs. Mostly neck resets and belly aches.
Applying a finish over a hide glue seam acts as a moisture barrier. Never had a fiddle in the shop that simply fell apart. I do use cyanoacrylate (Bob Smith Indust)for cracks and other similar repairs.
The original comment from someone about "end grain" was in reference to exposed end grain on the flappers
Sealing joints with something makes sense and is standard operating proceedure
A mitred joint without some sort of other fastening device .. mechanical or other wise.. has limited strength but infinitely better than an "unfortunate" butt joint
where end grain will eventual tear off the long grain of the other piece.. and of course allow moisture to enter the end grain even while intact..mitres have no "exposed" end grain..and that is why it is used..
Even with coating the joints prior to assembly there is no imperviable finish that will stop moisture..
Hmmm I have owned well over 100 guitars and a little over 50 mandolins
Many by commercial makers such as Gibson and Martin. With the exception of one absolutely brand spanking new D18S which had all the back braces popped off the day I received it.. never seen a glue failure..
I am certain it happens...
But ususally it isn't the glue it's the prep work or temperature or some other cause...
I prefer the LMI glue.. but I also use about 2 gallons of animal glue per year....
Curious.. you do neck resets as a result of glue failures ?
I have long thought that the typical dovetail neck joint was just **** silly and a hold over from violin
construction.. makes sense on a violin no sense on a guitar.. a formula for failure...
And I am sure the reason Collings and other makers use bolts..