Tried Roland's FR-7
Mario Bruneau
The samplings are awfull except for the bandoneon sound that was ok.
All the sounds lack of "bite". The attack portion of every samples are
too slow. The dynamic is not fun to play with. The musette sound is
nightmare.
I must say that the first one to design the reedless accordion still are
the best... The Cavagnolo's Odyssee is still the best.
Note: I dont have any interest or connection with the Cavagnolo Company
except that I just plain love their unique sound.
--
Répondre à / reply to : mariob...@abcde.net
Mario Bruneau
(450) 295-2414
http://www.abcde.net/mariobruneau français
http://www.accordeon.com/mario bilingual
Krazy Kanuck
Titano accordion.....and I found that the musette was awful and most of the
others sound ok with a bit of reverb.....especially the bassoon reed.....I
was wondering though, if one could buy a newer and perhaps better odyssee
module?
"Mario Bruneau" <mariob...@abcde.net> wrote in message
news:2i32e.1650$w63.4...@news20.bellglobal.com...
Mario Bruneau
hand was not sampled. They use to take samples from the right hand and
sort of "fake" the left hand with them. They did change that and
sampled the real left hand so now I think both hands sounds great.
Here is an audio example of the "new" Odyssée. It is a "live"
performance by Jean-Louis Noton of "Bluesette" I once made a contest
here in this NG to differenciate between two audio examples and to try
to guest if it was a "real" accordion or a reedless. Bruce Metras won
the contest and I sent him a copy of my own accordion CD.
Here is the link:
http://www.abcde.net/mariobruneau/sample2.mp3
Enjoy
Répondre à / reply to : mariob...@abcde.net
Mario Bruneau
(450) 295-2414
http://www.abcde.net/mariobruneau français
http://www.accordeon.com/mario bilingual
Bruce Metras
I was proud and amazed to be the only one on the NG with the correct answer
to your contest and I still treasure my first place prize of your CD and
play it frequently!
How long did you have to spend with the FR-7?...Which 'musette sets' were
you using?.....I have found that you can change the musette sound to most
anything you want using either (M M+ M-) (M+ M-) or (M M+) settings and
adusting 'reedtypes' and volume levels for each footage individually..from
no tremelo to extreme tremelo..you can also adjust the amount of 'detuning'
of a note based on bellow pressure (similar to the way a reed
behaves)...also delay, echo and chorus can be infinitely adjustable for any
register setting..
I have had a FR-7 here for over a month and enjoy it a lot.....I know people
who have demo-ed from someone who knew much less about the Roland than the
person trying it out.....that's a shame because there is a lot 'under the
hood' which may not be apparent on first try....I have a few of my amateur
hobbisté attempts on Joe Regina's Fort Bend Accordion Club web site....by
know means an exhaustive display of sounds or technique, just having a
little fun and getting acquainted with it.....no effects, no external
processing...straight from the FR-7....
http://www.fbc-accordion-club.org/bruce_metras.htm
Also, if you want to hear something from Frank Marocco on the FR-7, you can
go to Mike O'Regans YahooGroup site and 'click' on the "files" and you'll
hear a nice little medley played.........you need to join the group to
access that medley, but you can always 'unjoin' after listening if you
didn't want to remain on the group...
http://launch.groups.yahoo.com/group/rolandv-accordions/
Do you own a Cavagnolo reedless?......if so, which model?
Best regards,
Bruce
Jerry Tierney
Mario,
You are an unbelievable player. I have a pretty good sound system
hooked up to my computer.
Don't you think it sounds a little, ah, thin? Jerry
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Mario Bruneau
Piano-accordion sound, it does sound a little thin. Keep in mind that
Cavagnolo is a typical French Chromatic accordion maker who came from
Italy to open its accordion shop in Lyon in 1924. The French sound is
by nature very bright and crisp as compared to the American sound as
americans mainly play Jazz like Art Van Damm who played the famous
Continental PA from Excelsior with a tone chamber who contributes to the
mellow Jazz sound even further.
I dont know what accordions where used for the samples of the Roland
FR-7 but I can assure you it was NOT chromatic nor a french accordion
like Cavagnolo or Maugein.
Thanks for the compliments but the sample is played by Jean-Louis Noton,
the Odyssée's demonstrator, not me! But you can listen to my musette
playing with this DEMO of mine if you follow this link:
http://www.abcde.net/mariobruneau/DemoAccordeon.mp3
bye!
Répondre à / reply to : mariob...@abcde.net
Mario Bruneau
(450) 295-2414
http://www.abcde.net/mariobruneau français
http://www.accordeon.com/mario bilingual
Mario Bruneau
I can now put a face on your name thanks to fbc-accordion-club.
I played only 10-15 minutes on the FR-7 but did not have the desire to
go further in depth with it. The description and features you described
here is very impressive. To be ability to change the musette sound to
most anything you want using either (M M+ M-) (M+ M-) or (M M+) settings
as you stated is very powerfull but if you dont like the accordion
samples comming out of the instrument like I do, these features are not
helping you to like the instrument further more.
I enjoyed listening to your playing of the Roland's FR-7. What I've
heard from your mp3s is the same "yonky" sound I've experienced playing
it myself. I really dont like the "attack" portion of the sound. It
goes "yonk, yonk, yonk" with no "bite" like "thahh, thahh, thahh" sort
of. (am I clear? :-) The double bass from the left hand sounded OK
though.
Also, I forgot to mention the FR-7 that I've tried had its shoulder
straps metal hanger broken and a bass register button was also broken.
I'm surprised because I own a lots of Roland's Synthesisers and
electronic gears in my studio and they never break!
I do not have an Odyssee and never did. I play on a Brandoni model 133
wich I tune myself.
Répondre à / reply to : mariob...@abcde.net
Mario Bruneau
(450) 295-2414
http://www.abcde.net/mariobruneau français
http://www.accordeon.com/mario bilingual
Bruce Metras
so I did a web search (any language) and came up with a few thousand
hits....I will review and return at a later date, hopefully better
informed....always great talking with you and a learning experience to be
sure....haha
Best as always,
Bruce
John's Musical
> For us (in America) that are used to the straight Italiano-American
> Piano-accordion sound, it does sound a little thin. Keep in mind that
> Cavagnolo is a typical French Chromatic accordion maker who came from
> Italy to open its accordion shop in Lyon in 1924. The French sound is by
> nature very bright and crisp as compared to the American sound as
> americans mainly play Jazz like Art Van Damm who played the famous
> Continental PA from Excelsior with a tone chamber who contributes to the
> mellow Jazz sound even further.
>
> I dont know what accordions where used for the samples of the Roland FR-7
> but I can assure you it was NOT chromatic nor a french accordion like
> Cavagnolo or Maugein.
>
> Thanks for the compliments but the sample is played by Jean-Louis Noton,
> the Odyssée's demonstrator, not me! But you can listen to my musette
> playing with this DEMO of mine if you follow this link:
>
> http://www.abcde.net/mariobruneau/DemoAccordeon.mp3
Mario,
It is nice playing, but I think it is a" fitting up" on many tracks.
How about a record the same music on one track as you play and as you hear
it?
John
Mario Bruneau
>
> Mario,
>
> It is nice playing, but I think it is a" fitting up" on many tracks.
>
> How about a record the same music on one track as you play and as you
> hear it?
>
> John
Hi John,
Not clear to me as what you mean by "fitting up"?
The second sentence also is not clear to me.
My DEMO:
http://www.abcde.net/mariobruneau/DemoAccordeon.mp3
Is a DEMO. As such, it is composed of little exerps from some tracks of
my CD. I used to give my complete CD with all the songs to restaurants
or hotels for hiring me but they would rather play the CD for free in
their restaurant instead of giving me a contract to play live. By
giving them little pieces of tunes like this DEMO, they can not use it
for their music ambiance.
Please explain to me what you mean John.
John's Musical
> John's Musical wrote:
> >
> > Mario,
> >
> > It is nice playing, but I think it is a" fitting up" on many tracks.
> >
> > How about a record the same music on one track as you play and as you
> > hear it?
> >
> > John
>
> Hi John,
>
> Not clear to me as what you mean by "fitting up"?
>
> The second sentence also is not clear to me.
>
> My DEMO:
>
> http://www.abcde.net/mariobruneau/DemoAccordeon.mp3
>
> Is a DEMO. As such, it is composed of little exerps from some tracks of
> my CD. I used to give my complete CD with all the songs to restaurants or
> hotels for hiring me but they would rather play the CD for free in their
> restaurant instead of giving me a contract to play live. By giving them
> little pieces of tunes like this DEMO, they can not use it for their music
> ambiance.
>
> Please explain to me what you mean John.
Mario,
I meant, the recoding itself ( not a demo of pieces put together).
When the piece is recorded on one track all together with the background
music and some solo instruments
or
When the same piece is done on a separate tracks and mixed "fitted up"
together as a finished product to make a CD..
When the same piece is played a live, it cannot produce the same sound.
John
http://www.johnsaccordionservice.com/
jaicee53
<snip>
> I dont know what accordions where used for the samples of the
> Roland FR-7 but I can assure you it was NOT chromatic nor a french
> accordion like Cavagnolo or Maugein.
The FR-7 does NOT use any acoustic accordion sample because it make
use of PBM (Physical Behaviour Modeling). The physical properties of
the free reed is reproduced by software algorithms driving
electronic CPU & DSP (Digital Signal Processor).
(The B4 software from Native Intruments is a B3 Hammond organ fake
using a similar PBM principle. Its not a sampled Hammond, and you
get all the organ footage tweeking like on the original B3 organ.)
You can NOT adjust the musette wettness (#cents out of tune) like on
the FR-7 with any sampled reedless i.e. you must switch between
several different musette presets.
Unlike the Cavagnolo Odysse and many other reedless accordions, the
Roland FR-7 is a real synthesiser and not a wave sample reproducer.
This is exactly what makes the Roland FR-7 unique compared with any
other reeedless accordion.
jc
Ron McOuat
when I tried one some of my home critics (they are my toughest audience
;-)) said things like "It sounds like you are playing in the bottom of a
barrel". My 84 year old mom who is almost deaf without hearing aids
compared the FR-7 to my Titano and said "my that sounds rough". I think
what bothered me was described by another post on this list as the
"yonk" "yonk" type of sound attack it makes. Some accordion simulations
are better than others. I am sorry that it had that effect on my hearing
tastes, I prefer something more mellow sounding, there are many ideas
present in the FR-7 such as the many types of accordion that can be
synthesized and the adjustable musette that would be wonderful. Terrific
concepts just the basic sound produced is odd compared to a professional
level acoustic instrument.
The other items that bothered me were the depth of the treble keyboard,
a key moves about 8 mm on the FR-7 compared to 4 mm on my acoustic and
must be pressed 2/3 of the way before any sound is heard compared to
about 1 mm on the acoustic. The bass keyboard felt strange as well with
progressive springs - the more you push the harder you have to push
compared to the acoustic which has linear and soft springs. The bellows
also feels like one is pushing on a bladder so bellows movement comes
from leakage not from a reed taking air to sound. This made the bellows
difficult to control to get a low volume from the instrument in my
opinion. This is probably what some people have meant when they say the
bellows are stiff.
This opinion is mine and is of course my own preferences coming from
playing a semi pro level acoustic (Titano Virtuoso). None of the things
I point out would prevent anyone from getting music out of this
instrument but it will be different as a playing experience for anyone
that has spent a significant amount of time on an acoustic, however, not
something impossible to overcome. I will be providing my feedback to the
company on my experience with the instrument which I hope will be taken
back to the appropriate place to look at ways to improve.
Ron
Mario Bruneau
> The FR-7 does NOT use any acoustic accordion sample because it make
> use of PBM (Physical Behaviour Modeling). The physical properties of
> the free reed is reproduced by software algorithms driving
> electronic CPU & DSP (Digital Signal Processor).
>
> (The B4 software from Native Intruments is a B3 Hammond organ fake
> using a similar PBM principle. Its not a sampled Hammond, and you
> get all the organ footage tweeking like on the original B3 organ.)
>
> You can NOT adjust the musette wettness (#cents out of tune) like on
> the FR-7 with any sampled reedless i.e. you must switch between
> several different musette presets.
>
> Unlike the Cavagnolo Odysse and many other reedless accordions, the
> Roland FR-7 is a real synthesiser and not a wave sample reproducer.
> This is exactly what makes the Roland FR-7 unique compared with any
> other reeedless accordion.
>
> jc
Wow JC!
Thanks for this pertinent and IMPORTANT infos. Then, the FR-7 can't be
compared to Cavagnolo's Odyssee reedless because they are completely
different instruments.
FR-7 = Synth
Odyssee = Sample
I really understand now the idea behind the FR-7 and I think it is good.
If I would spend a month with the FR-7, I would probably come up with
some good results with programming but I'm sure and certain I would
prefer the Odyssee anyway for the true chromatic french musette sound it
was sampled from.
thanks again for this good information
box_man
well i've been holding off on commenting but really it's
time to say the things no-one else is saying.
First of all, Accordionists are notoriously technologically disadvantaged.
Historically they want simple things you turn it on and push a switch
and get a certain sound.
the new Roland is in many ways a technological PERFORMANCE step
BACK because we have had the ability to do "synth" sounds with
bellows sensitivity now for quite some time through MIDI
this is not rocket science... and all ya had to do was spend a few bucks
and mess with some wires and things to have it years and years ago.
the new Roland is merely a compromise and a neat toy that pushes
the "portability" and "smoke and mirrors" boundary...
but MIDI wireless duplex transmission in a simple high quality 2 reed
treble 4 reed bass acoustic would give you 1> better strolling tone
2> better amplified tone 3> longer battery life 4> far more natural
bellows action 5> far better touch 6> under 20 pounds strolling weight
so unless you are being a> paid to play one or b> technologically
severely challenged and terribly scared of gazinta's there is really
no comparison as to which would be the better instrument choice
for a professional or serious student.
simple MIDI gives you the flexibility to have you cake and eat it too...
ANY acoustic accordion made in the world can be MIDI'd or even
some wild one of a kind you spec out yourself... with such a feast
of choice why would you give that all up and let Roland make
all the decisions for you? One size doesn't fit all here in the
Accordion world... we all have such different tastes and styles.
quit being afraid of technology you ppl and get your hands on
some software and a few pieces of hardware and stop wanting
someone to take you back to the Chordovox days (they weren't
all that great... proprietary systems and hardware are always
gonna bite ya in the butt at the worst time)
cookie cutter type accordions are always gonna suk
sheesh (i borrowed that)
which reminds me Hi Ralph nice to see ya popping up again
Ciao
Ventura
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box_man
i continue my demented ramblings as such:
>>The FR-7 does NOT use any acoustic accordion sample because it make
>>use of PBM (Physical Behaviour Modeling). The physical properties of
>>the free reed is reproduced by software algorithms driving
>>electronic CPU & DSP (Digital Signal Processor).
>>
well that is and is not really true
ya see, from waaaaaaaaaaaaaaaaay back Roland was actually the first to
actually take and make a huge investment in sampling. They created
an archive that may still be unsurpassed today.
their Synths and everything were then based on using those samples
as the basis for their root waveforms. I mean since the time Roland left
modulated square waves or sine waves modulated by sine waves in the
dust with their new sample based synths they have never turned back.
Yes you can still draw up a pure sine wave to mess with, but EVERY
instrument in the GM list and many many more have a basic waveform
for you to "program" your patch from in the Roland family of machines
and those waveforms were created by taking the "attack" portion of the
acoustic sample and basically embedding it into the root waveforms.
Going all the way back to the seminal Digital Piano module... the first one
good enough to be widely used and adopted in recording studios around
the world (yeh i still have one here and it still works... MKS-20)
through todays Roland gear the basis of their sound is rooted in the
acoustic front end of the waveforms.
So no, they aren't using accordion "samples" purely like a "Mirage"
does, but they are nevertheless sample based waveforms the
patches are programmed around.
the combination of synth programmable acoustic sound was a
quantum leap forward in overall tone, and everything since has
pretty much been adding processing power to the basic equation
which allows more sophisticated real time handling of the basic
tone. The ability to blend multiple waveforms based on attack
parameters as you play... longer forms with more natural decay...
modeling to match quirks and irregularities in things like the B-3.
then too pretty much all the "promotional" junk handed out
about every new flavor of Synth family is really just an
attempt to make it all seem like some big great "new" thing
and disguise that it's really just an incremental improvment
(prople don't but incremental improvments much, except when they
need them... they do buy gee whiz bang stuff on impulse)
the concept of electronic data modeling patches driving dsp's
post synth stage is not new... i reported in depth 4-5 years ago
of the chips inside the inexpensive MASTER reedless (including
chip id's) even that unit had 2 high end DSP's tweaking the sound.
call it what you want it's still the same old wrinkle.
Now Max has gone forward with the concept i outlined to him many
moons ago... taking the most LOVED most famed acoustic accordions
and cloning their sound into the chips and locking them in
the MIDI or reedless accordion... let musicians basically dial
up a Super 7 or an AC or a Slavko and have the tone close enough
that you can recognise it. That's more useful in my opinion for
the average accordionist. I am still gonna prefer to do my own
programming because i'm picky and damn near impossible to ever
please, but i know the rest of you don't even want to think about
attack decay sustain release much less the varied interaction between
partially out of tune sections of the reedsets.
so have some fun with the Roland but take your 7 grand and buy
a few tickets to Italy, spend a couple thousand on living
la Dolce Vita on the Adriatic Coast for a couple weeks, pick an
accordion and take it up to Master for a MIDI and some sounds.
come back happy and tanned and well fed with money in your pocket
i mean lets face it... Roland had the total lead in the market
with the RA series units... they were the only major that
installed tweaks for the Accordionist in their gear... and they
simply walked away from us when the margins got a little thin
and the competition heated up. i honestly doubt they are gonna
be around us for very long this time either, my bet is this will
be the same as their little Harpsichord. They developed it
built about 15 years worth and sold 'em till they were gone.
I will be sticking with real Accordions and MIDI combinations
and i will continue to have a unique sound and style and book
and if you want to stand out from the crowd i'd sugest you
renew your efforts to embrace the endless variety Technology
offers us today.
Ciao
Ventura
>
>
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johann pascher
Hi, Ventura!
It was also my impression as I did read along on this discussion.
I can’t really comment on it, but just from the technical few point this
is also my opinion. Still you know I prefer anyway the acoustic sound.
I don’t know how much the will invest to improve both ways of technology.
But with micro samples I see much more to come in the future as there is
today. To improve synthetic modelling much more research would be needed
as there is today. But who knows, I still think there is much work to do.
“the new Roland is in many ways a technological PERFORMANCE step
BACK because we have had the ability to do "synth" sounds with
bellows sensitivity now for quite some time through MIDI”
Best regards, Joahnn
Gerd Mayer
Hallo Johann,
I agree with you about a straight acoustic sound. When I stopped playing (semi) professionally, I traded my "electronic" (Lidovox) accordion for a simple acoustic accordion. Can you imagine a schrammel trio with an Midi type machine? No thank you. So, I really do agree with you.
Gerd
johann pascher <j_pa...@yahoo.de> wrote:
Hi, Ventura!
It was also my impression as I did read along on this discussion.
I can’t really comment on it, but just from the technical few point this
is also my opinion. Still you know I prefer anyway the acoustic sound.
I don’t know how much the will invest to improve both ways of technology.
But with micro samples I see much more to come in the future as there is
today. To improve synthetic modelling much more research would be needed
as there is today. But who knows, I still think there is much work to do.
“the new Roland is in many ways a technological PERFORMANCE step
BACK because we have had the ability to do "synth" sounds with
bellows sensitivity now for quite some time through MIDI”
Best regards, Joahnn
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Anthony Carriero
Could you please expand on your statement: "quit being afraid of technology
you ppl and get your hands on some software and a few pieces of
hardware..."? Thanks in advance.
----- Original Message -----
From: "box_man" <Box...@att.net>
Sent: Tuesday, April 05, 2005 1:47 AM
Subject: Re: SML: Re: Tried Roland's FR-7
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Bruce Metras
> From: box_man <Box...@att.net>
> well i've been holding off on commenting but really it's
> time to say the things no-one else is saying.
Hi Phil....long time no hear with your reviews.....I'll make some comments
within your text from the view of an average player, but one that has played
organ accordions like the Cordovox, synth boxes like Excelsior's Digizyer
and on up through reedless boxes like the Orlavox...
Phil:
First of all, Accordionists are notoriously technologically disadvantaged.
Historically they want simple things you turn it on and push a switch
and get a certain sound.
Bruce:
Amen, and accordionists aren't alone in the wish for simplicity......but in
the context of this discussion, we should be talking and comparing
electronic accordions and electronic sounds.......the comparison should be
to 'reedless' accordions and not 'acoustic' with electronic sounds
added.....ease and simplicity sells (look how many Milleniums went up for
sale shortly after introduction)....nobody wants to spend countless hours
experimenting (except maybe you..haha)...accordionists by and large are 35
and up (way up)....that means they probably have jobs, families, or outside
responsibilities.....re: TIME constraints....
Phil:
the new Roland is in many ways a technological PERFORMANCE step
BACK because we have had the ability to do "synth" sounds with
bellows sensitivity now for quite some time through MIDI
this is not rocket science... and all ya had to do was spend a few bucks
and mess with some wires and things to have it years and years ago.
Bruce:
Yikes.....you would have had to spend tens of thousands to come up with what
Roland has come up with and then likely have an inferior product....again,
nobody has that kind of time to invent the better wheel.....if you haven't
lived with one for a period of time, go ahead and check out the onboard
features which other previous reedless instruments could not offer and that
are improvements over existing design and implementations......the way I see
it, that's progress...
Phil:
the new Roland is merely a compromise and a neat toy that pushes
the "portability" and "smoke and mirrors" boundary...
but MIDI wireless duplex transmission in a simple high quality 2 reed
treble 4 reed bass acoustic would give you 1> better strolling tone
2> better amplified tone 3> longer battery life 4> far more natural
bellows action 5> far better touch 6> under 20 pounds strolling weight
so unless you are being a> paid to play one or b> technologically
severely challenged and terribly scared of gazinta's there is really
no comparison as to which would be the better instrument choice
for a professional or serious student.
Bruce:
You're comparing apples and oranges, but for the sake of friendly discussion
consider this...with the Roland, you walk into a venue, take it out of it's
case and start playing and/or strolling with simulated acoustic accordion
sounds, or orchestral sounds, or both under your finger tips....to the
audience or group, they think you are just playing an accordion and may
notice the cool 'string bass' or 'sax' that seems out of the
ordinary.......other than that, you are immediately entertaining...
In your scenario above, you arrive at the venue at least an hour beforehand
with a truck full of equipment.....midi modules, amps, speakers, wall warts,
line conditioners, foot pedals, wires, cables, wireless transmitters...am I
forgetting anything?, oh, and the accordion.....now you hunt for power
outlets, set up stands,cable everything up and start soundchecks........now
assuming both players are equal performers in calibre and presentation, can
you see where the technologically challenged accordionist in the audience
might opt for simplicity and the Roland?.....maybe even if you weren't a
technological idiot....
As to use by a "serious" student, the Roland is a fantastic practice
tool.....ever wonder about 'freebass', many serious students do....which
system to go with, C, B, Quint?....with the Roland there are 7 different
bass layouts available at the touch of a switch.....how about practice
time?....the more you practice the better you get?....you can take the FR-7
anywhere and simply plug in the headphones.....outside, inside, wee hours,
in the office, hotel room.....did I mention no cables or wall
wart?...........nice advantage over existing designs?.....sure, there are
differences over a good reeded accordion.....the bass buttons require a
firmer touch, the treble keyboard is a little deeper, the bellows move less
to produce sounds, but these things can be used to advantage as they build
strength and technique....I certainly don't say replace your acoustic (and I
never will), but the Roland is a great tool for practice..
Phil:
simple MIDI gives you the flexibility to have you cake and eat it too...
ANY acoustic accordion made in the world can be MIDI'd or even
some wild one of a kind you spec out yourself... with such a feast
of choice why would you give that all up and let Roland make
all the decisions for you? One size doesn't fit all here in the
Accordion world... we all have such different tastes and styles.
quit being afraid of technology you ppl and get your hands on
some software and a few pieces of hardware and stop wanting
someone to take you back to the Chordovox days (they weren't
all that great... proprietary systems and hardware are always
gonna bite ya in the butt at the worst time)
Bruce:
I agree that one size doesn't fit all....however, IF you are going to rely
on simulated electronic sounds in your presentation, via MIDI or distortion
induced amplification of a reeded accordion, then the Roland is a legitimate
choice.....I think Gerd, Johann and others have said they prefer the sound
of reeds over the Roland's sounds......of course!!..me too!!...that's not
the comparison.....the comparison should be between 'reedless' accordions,
or if you must, 'amplified' reeded accordions in conjuction with simulated
electronic sounds thru the use of MIDI (the sound that the audience hears
through the speaker system).....in that context, the Roland is a viable
choice and is being used and professionally recorded with right now by some
top players (who actually bought them)......
Here's something I did last night....I have two Roland KC-500 keyboard amps
(15" speakers, 125watt each) in my shop...I hooked them both up together
thru the stereo link feature (right amp was treble only, left amp bass)....I
wanted to see just how loud I could get...turned both amps way up and full
volume on the FR-7 ..... the sound was distortion free, extremely loud, and
I was standing right in front of the amps making pot adjustments.....zero
feedback.....that could be useful....
Best,
Bruce
MK
missed something, which is entirely possible, I wonder if any of you
have tried making non-accordion sounds with one of these midi type
accordions? I am interested in hearing what instruments or special
effects you have made, including your sound samples online, if possbile.
For example, I think it would be nice to hear what one of these
electronic accordions does with flute-like sounds, and even more
interesting - - unusual tonal effect sounds that are not like any
accoustic instrument but still tonal.
I know you can always process the wave form after you have played into
your computer or recording device, but it seems that these
elec.accordions should be able to just play with unusual sound without
having to record and process, which would be very fun. (But, it also
seems that everybody is more interested in playing different "accordion
sounding" stuff, like different kinds of musette or different branded
sounds (as in "a P.Soprani sound," "a Hohner Sound", etc.) , instead of
expanding out to the netherlands beyond the accordion sound.)
Thanks for the interesting give and take.
MK
johnsaccordionservice
--- In squee...@yahoogroups.com, usenet@d... wrote:
> Really-Reply-To: Bruce Metras <bmetras@p...>
> Really-From: Bruce Metras <bmetras@p...>
>
> Here's something I did last night....I have two Roland KC-500
keyboard amps
> (15" speakers, 125watt each) in my shop...I hooked them both up
together
> thru the stereo link feature (right amp was treble only, left amp
bass)....I
> wanted to see just how loud I could get...turned both amps way up
and full
> volume on the FR-7 ..... the sound was distortion free, extremely
loud, and
> I was standing right in front of the amps making pot
adjustments.....zero
> feedback.....that could be useful....
>
> Best,
> Bruce
I thought that the feedback you can only have from the microphones -
not from a digital ( MIDI)
I never had/have any feedbacks on any Midi fitted accordions or
reedless
accordions.
The FR7 does not have any microphones,(or does it have?) so looks
like I am missing
your point.
John
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Krazy Kanuck
> Here's something I did last night....I have two Roland KC-500 keyboard
> amps
> (15" speakers, 125watt each) in my shop...I hooked them both up together
> thru the stereo link feature (right amp was treble only, left amp
> bass)....I
> wanted to see just how loud I could get...turned both amps way up and full
> volume on the FR-7 ..... the sound was distortion free, extremely loud,
> and
> I was standing right in front of the amps making pot adjustments.....zero
> feedback.....that could be useful....
>
Rock On Bruce!!!!!!!!!
Now, what are you doing with 2 KC-500s?.....I would sure like to even have
one!....(actually I'm looking at the new Behringer KB amps that are supposed
to be available this summer....They have built in digital F/X
too....something that's usually lacking in Keyboard amps I suppose because
most keyboards have FX already???....but not my accordion's mics or built-in
module)
Len
Bruce Metras
You might have missed my point........mine was in the comparison of using
'amplified' reeded accordions + MIDI as used in a large setting....certainly
the MIDI will not 'feedback' however, the mics used to amplify the reeds
'will' in certain situations....many stage performers have battled with
types of mics and placements to avoid feedback problems and acquire
acceptable amplification for a long time....you're correct, no mics in the
FR-7...
Bruce
Bruce Metras
Those amps do cook!!....ahaha....I got them to compete with the noisy
neighbors a couple of shops down from me....they like to play rap really
loud....amazing the kind of truce you can come up with the threat of playing
a little "Granada" or other classic accordion type music through the 500's!!
Bruce
Bruce Metras
Mike O'Regan posted a cute song called the Hippo song...it makes use of a
couple of the built in orchestral sounds of the FR-7
http://www.fbc-accordion-club.org/mike_o'regan.htm
Bruce
Gerd Mayer
Let's play accordion , not pretend computer generated sounds. I am with you! Thank you,
Gerd
use...@d-and-d.com wrote:
Really-Reply-To: mkaREM...@aufranceREMOVTHIS.com
mkaREM...@aufranceREMOVTHIS.com
Really-From: MK <mkaREM...@aufranceREMOVTHIS.com>
I have read this entire thread with great interest, but unless I have
missed something, which is entirely possible, I wonder if any of you
have tried making non-accordion sounds with one of these midi type
accordions? I am interested in hearing what instruments or special
effects you have made, including your sound samples online, if possbile.
For example, I think it would be nice to hear what one of these
electronic accordions does with flute-like sounds, and even more
interesting - - unusual tonal effect sounds that are not like any
accoustic instrument but still tonal.
I know you can always process the wave form after you have played into
your computer or recording device, but it seems that these
elec.accordions should be able to just play with unusual sound without
having to record and process, which would be very fun. (But, it also
seems that everybody is more interested in playing different "accordion
sounding" stuff, like different kinds of musette or different branded
sounds (as in "a P.Soprani sound," "a Hohner Sound", etc.) , instead of
expanding out to the netherlands beyond the accordion sound.)
Thanks for the interesting give and take.
MK
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Gerd Mayer
Hi,
Just play a "real" accordion. C'est la vie! Enough about midi and scheisse.Play accordion like it is supposed to be played; not artificially.
drjazzz
You know, this thread is all very interesting. I remember playing
the Cordovox back in the early 70's, and then the ekla vox etc and
at the time we thought the sounds were pretty good... however one
thing was different between then and now. The cordovox for one was a
pretty darn good accordion and the top model if I'm not mistaken,
had a great set of reeds. That was and would be usefull today if all
the electronics died, especially with the new Roland v-7, and I'm
mainly using the roland as an example here as it seems to be the
centerpoint. I have heard Bruce play his v7 and also Frank Marocco,
and they both sound pretty darn good. However I guess I'm just a
dinosaur, as I happen to love the sound of a real accoustic or
electric chambered accordion. Then again thats my preference, and
I'm sure that the people who buy these new boxes all have their
reasons. As I said, I prefer the accordion sound. If I wanted a
sax, flute, or piano etc, I would have taken up that/ those
particular instruments, or purchased a new Roland. That being said,
I would think that the main reason one would want a new Roland or
similar is so they can add various instrument sounds and
backgrounds, as Phil and others have shown with great expertise.
There is no real point to this other than there seems to be a little
tensness shown here as people are starting to line up on each side
to throw bricks, reedblocks or Synthaccordions, and I'm wondering
WHY? If I drive a Chevy car, and you drive a Dodge truck, does that
really matter?? It's basically what you want and for whatever
purpose you have in mind. One is not better than the other, other
than for the specific purpose you are going to use it. Now... if you
come up with an accordion that will practice by itself, and then let
me play to that proficiency... please put me first on the list.
Synth or not.
Doc
--- In squee...@yahoogroups.com, Gerd Mayer <gemay43@y...> wrote:
> Let's play accordion , not pretend computer generated sounds. I am
with you! Thank you,
> Gerd
>
> usenet@d... wrote:
> Really-Reply-To: mkaREMOVTHIS@a...
> mkaREMOVTHIS@a...
> Really-From: MK <mkaREMOVTHIS@a...>
>
>
>
>
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John Dickson
Great Post Doc. Echoes a lot of my thoughts. I have owned a lot of the
alternatives..Cordovox, Elctrovox, Excelsior Digisizer.
I love the sound of an acoustic accordion and I guess at my stage of the
bike race my preference will be unlikely to change.
Regards
John D
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Art
people disappointed with this "piece of trash", "junk", "unsatisfactory
pos", etc. etc. And, curiously, the amount of converted purists may be
proportional to the size of such rebate.
Let's go...they are so green...
johann pascher
Hi, Doc!
“However I guess I'm just a dinosaur”
That’s good so you have a lot of experience!
“If I drive a Chevy car, and you drive a Dodge truck, does that
really matter?? It's basically what you want and for whatever
purpose you have in mind. One is not better than the other, other
than for the specific purpose you are going to use it. Now... if you
come up with an accordion that will practice by itself, and then let
me play to that proficiency... please put me first on the list.
Synth or not.”
I have to say something again, even I may be not that experienced.
I am sure if anyone is good musician or not may be the produced music is
for one or the other reason that what he or her want.
Comparing the situation with different chars is not correct at all.
If you compare the situation with: “driving a Chevys car or a Dodge truck”.
This would be perhaps near comparing a acoustic accordion produced by
“Pigini and Fisitalia” or some other make produced in the same country
with nearly the same technology even the size of the two products are
not comparable.
And I don’t see that a acoustic accordion compares to a car and a Synth
Accordion to a truck. May be if you need the Power of the sound
amplified for a big audience.
For me it is much different.
First of all I don’t need the sound to be very loud.
And for me the emotional factor counts more.
I know technique will be getting better. But all will be a copy of the
real thing, and copy’s and all this virtual realities are now close to
the real thing, and we technicians are tempted to make better copy’s but
in the first place we need to understand the real thing.
And that was my first intension and still is in some way to find all
physical parameters to produce a virtual sound.
I was convinced to use electronic from the first time on since I studded
everything I could get in my fingers from my youth on in connection with
electronic, and as microelectronic came up I loved it and I thought it
will be the resolution to implement new things I could not do before.
But at the same time I got more and more in contact with traditional
music instruments and building them.
Now I still have some ideas of improving or mixing traditional accordion
making with some modern technology and I don’t know if I can put some of
it into action in the short time we are on earth.
Still all will be a picture of the original and the picture is getting
better and better. Or eyes may be limited compared to other individuals
but we are able to see much more as the best technique can reproduce at
present time. Yes we are happy to have colour monitors and TVs and the
next generation will improve and we would be able have 3 dimetional TV
now. Not bad but what is it compared to see a flower with or own ayes.
And then keep in mind all happens in or brain if we have memories and we
see some of it on TV, really the memories came up and build a much
better picture as we did see on TV. If we never did see anything in
reality how poor would all reactions and impressions be.
And with or ears it is the same way, we go to attend live concerts and
not just watch all on TV.
If we could take the reality into or mind we even enjoy the same thing
on TV when we see or hear the same or similar things again.
Just yesterday a new study was presented that it makes so much
difference in brain activity if an average person lesions to some music
compared to a trained musician. The recorded brain activity is 10 times
higher by person who is trained and is able to play an instrument him
self. The active zones in brain of a musician are not only the zones for
hearing, there are also other active zones as there would be when the
musician is performing the music him self. So the picture and the
imagination in the brain is what the person “sees, hears or duos”. And
this is built up in a long process of training and experiences. So get
the real thing into your brain, and this in the best way by:
DOING IT ON THE REAL THING!
And if you are used to a acoustic Accordion who knows perhaps your
imagination is the best thing not the Synthetic sound.
Dot take it personally, is all my opinion and I respect all others!
Comments or corrections are welcome.
Best regards, Joahnn
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drjazzz
Ok Johann.. so whats your point, because I really thing you missed
the point of what I said. ... just to come and and refute something
I said??? doesn't make too much sense? Most people I know, will
understand the vehicular comparison between a car and a truck.If
you don't, then maybe someone on the forum will be glad to explain
it to you. I just stated MY point of view and really didn't expect
any unintelligent flak back from it.. so no you didn't hurt my
feelings and I'm not going to take it personally.. as I believe your
statement doesn't merit it.
thanx for for your comments though.
Doc
--- In squee...@yahoogroups.com, johann pascher <j_pascher@y...>
wrote:
RODERICK JOHNSTON
I confess that I have not seen or heard the Roland and am unlikely to do so as the nearest dealer is over 200 miles away.
What concerns me is the reliability of the electronics. I have owned a Korg and a Roland keyboard both of which after 6 or 7 years of purely domestic use began to fail and develop problems. This must be an issue. My Korg dealer told me not to expect more than 6 years of use before the electronics start to giving problems. Surely all that the FR-7 is, is basically a midi keyboard controller, soundcard and simple computer.
Will Roland still have a commitment to this unique instrument in 5 or 6 years time? My Excelsior AC Jazz is over 12 years old and was used by a professional musician for many years . It still plays perfectly.
I cannot see any real advantage over an acoustic accordion with midi fitted giving you the best of both worlds. Weight advantage is negated as the FR-7 has batteries and speakers. The only thing that recommends the Roland to me is that it must be the perfect practice instrument and then the FR-5 would do the job.
Rod Johnston
Fort William. Scotland
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johann pascher
Hi, Doc!
I am really sorry if I did upset you, that is the last thing I want!
And I my well misunderstand common expression in English,
Sorry if I did!
All the best wishes, Johann
drjazzz schrieb:
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jre...@houston.rr.com
This thread reminds of a book I read a few years ago. The author is
Barry Katz. he is a Professor at Stanford University and the title is
"A Historical Romance: Technology and Culture".
He examines the interaction of Technology and culture over 5,000 years
and how people adapt their lives. One of the points is that the more
people are exposed to technology in their daily life they seek to
balance things out by seeking out traditional things in their personal
lives. For example as we all have added TV over the years, many people
have bought cabinets made of wood were they can hide the TV. Or like my
neighbor who is a PhD in Mechanical Engineering but spends his leasure
time fishing and making custom knives. Or my wife who is a physician,
but enjoys painting and crafts.
The point is that if I (an accountant) I spend most of my day at a
computer dealing with abstract issues and processes whose outcome may
not be known for months or years, it is nice to come home and pickup
what appears to be a very traditional instrument and have some
immidiate audible feedback whenever I move my fingers.
Of course professional musicians will probably pick the synth-accordion
just as I prefer the computer to pencil and paper ledgers.
Am I making sense?
Joe
Joe Kesselman
Well... Partly.
I agree with the need for something more immediate/intuitive to balance
the longterm/intellectual, but music is one of the things that addresses
this for me no matter what instrument I am playing at any given
moment... from a drum to a 'box to a synth to a mixing console.
But I'm a technogeek by both vocation and avocation, so I don't feel the
same need to escape it in my time off that you do.
Hiding the TV and what we hide it in are different questions. People buy
wooden cabinets because the rest of their decor is wood; if they've gone
the metal-and-glass route (as some do), they'll want cabinets which
match that.
So: I think you're making some valid points but the degree to which they
apply and the form in which each individual expresses them are very much
a matter of personal taste.
drjazzz
As far as I'm concerned Joe, you are probably correct. Just as I
explained to our friend Johann, ( who I unfortunately flew off the
handle at....being at that time of the morning, I havent' had my
first coffee yet and am unbearable according to my dear wife) to
each his own, it seems most of us like the old and still eye the new
with a bit of trepidation...possibly from some past experiences and
considering our age as an excuse, we can probably get away with it.
I'm not about to go the synth route yet as I haven't won the lotto,
and 2nd, I'm a tad concerned that halfway through my fastastic
arrangement of Blue Spanish Eyeballs, that suddenly the "sounds of
silence" strike. I presently have a small 3/5 - 3/4 size accordiana
that is the perfect stroller that if I had a penny for every note
that I have played would just about equal the lotto, and it is like
a Jeep.. it just keeps playing after 25 yrs of use and abuse.So I
guess we will just keep playing what we want and have fun doing it,
at least thats the route I'm going to take.. untill Bruce Metras
sends me his roland to try out for a few months... at no charge of
course... thanx Bruce.. you are a true blue buddy... the cheques in
the mail.
Doc
--- In squee...@yahoogroups.com, usenet@d... wrote:
> Really-Reply-To: "jregina@h..." <jregina@h...>
> Really-From: "jregina@h..." <jregina@h...>
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Joe Kesselman
> and 2nd, I'm a tad concerned that halfway through my fastastic
> arrangement of Blue Spanish Eyeballs, that suddenly the "sounds of
> silence" strike.
Can happen with mechanical instruments too, y'know. Reeds can go sour,
or a linkage can break; I've had to open the concertina to deal with a
reed that shifted often enough.
Even voice can go bad surprisingly quickly, as I found out earlier this
year when I almost completely lost my voice overnight and had to perform
with a croak. (Luckily, I only had to get through one song and I could
make the cold part of the character.)
But if you don't trust the electronics, that's fair.
> guess we will just keep playing what we want and have fun doing it,
That's the best advice I've seen offered yet, as long as we respect the
fact that everyone's entitled to their own wants...
drjazzz
Interesting... in the 40 some odd years of playing.. I must have the
luck of the Irish.. because I have never had a mechanical box die on
me. Of course I have never used an electonic synth either for any
great amount of time so other than a few short gigs, thats been my
experience. And that was 100 yrs ago on a chordovox.. we are not
mentioning ages here gentlemen!!!!
doc
--- In squee...@yahoogroups.com, usenet@d... wrote:
> Really-Reply-To: Joe Kesselman <keshlam-nospam@c...>
> Really-From: Joe Kesselman <keshlam-nospam@c...>
Jim C
Techi things are nice and a lot of fun. They get old fast though. How
many Commodore computers do you see? What can you do with a computer
running a 286 a 386 or even a 486 CPU? My Casio DH100 digital horn
stopped working and just squawks now when i try to play it and three
years ago it played just fine. Casio stopped making and servicing them
and there is no service info. There are probably ony a few specialized
chips on it that are not available anyway.
Mechanical devices, on the other hand are usually servicable.
--- drjazzz <keyboa...@rogers.com> wrote:
>
>
> As far as I'm concerned Joe, you are probably correct. Just as I
> explained to our friend Johann, ( who I unfortunately flew off the
> handle at....being at that time of the morning, I havent' had my
> first coffee yet and am unbearable according to my dear wife) to
> each his own, it seems most of us like the old and still eye the new
> with a bit of trepidation...possibly from some past experiences and
> considering our age as an excuse, we can probably get away with it.
> I'm not about to go the synth route yet as I haven't won the lotto,
> and 2nd, I'm a tad concerned that halfway through my fastastic
> arrangement of Blue Spanish Eyeballs, that suddenly the "sounds of
> silence" strike. I presently have a small 3/5 - 3/4 size accordiana
> that is the perfect stroller that if I had a penny for every note
> that I have played would just about equal the lotto, and it is like
> a Jeep.. it just keeps playing after 25 yrs of use and abuse.So I
> guess we will just keep playing what we want and have fun doing it,
> at least thats the route I'm going to take.. untill Bruce Metras
> sends me his roland to try out for a few months... at no charge of
> course... thanx Bruce.. you are a true blue buddy... the cheques in
> the mail.
> Doc
>
>
> --- In squee...@yahoogroups.com, usenet@d... wrote:
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johann pascher
Hi, All!
I would like to make a comment on the question, how difficult it is to
repair mechanical parts compared to electronic circuits.
First:
I am glad the discussion goes on and there is some in every comment what
is worth thinking abut! With many comments I can well go along!
There is relay nothing completely balk and with.
My thoughts abut comparing repairs on mechanical and electronically
equipments:
I think abut it with some mixed feelings. I do have the skills to repair
both mechanical and electonic equipment. Main problem is at the moment
that I am getting older my ayes are not the same any more as the used to
be so I need glasses for both small mechanical parts and small SMD
circuits and especially if I want to replace tiny parts. I do all
repairs from modern high tech computer equipment to all mechanical. The
only limitation is sometime having the right tools and sometimes to much
time is involved to get all information and documents until the repair
is done. For electronic the parts are usual at the moment not really the
problem everything can be fixed but the amount of time involved my not
pay and in many times it is much cheaper to bay the equipment all new.
Electronic is getting more and more reliable, comparing the last 30
years less repairs have to be done on electronic to day. But from a
electronic standpoint we consider electronic as old if it its 5 to 10
years old depending what it is. And it is hard to say what it wound be
to repair electronic in 30 years that is produced today. Even if the or
we would know how to do the repair may be one can again repair one with
used parts from an other equal circuit available. I don’t think the
companies will keep on providing specialised parts especially programmed
for the equipment. To repair a mechanical accordion today may also be
difficult and time involving, but I don’t have big problems with
rebuilding the mechanical parts.
An other thing is, it pays more for me if I do some electronic repairs
compared with mechanical repairs. And I do even get more money for some
consultant work. Or giving lessons. (I am fortunate I don’t need do a
lot of work for money any more.)
So I would think repairs on electronic will tend to get more expensive
as on mechanical parts.
The market for electronic accordions will be rather small, so I don’t
expect that prices will go down very fast. If prices would go down very
fast it would be easy to replace it with a better new electronic
accordion. So usually mechanical repairs are cheaper as repairs on the
electronic. The tools needed to do all tests on electronic are very
specialised and expensive too. If you are lucky, your electronic
accordion may work without any problem and any service for many years.
May be some bufferbattery or some other accumulator have to be replaced
from time to time. You even my update the software very easily to have
new features as long as the companies support your version. But it also
may be that in time some expensive part would be to replace and it will
cost you as much as getting a new one. Is a bit like a game. We always
hope it never happens to us. And in may ways it will work.
I know some of the new possibility I could think of that may come in the
next years are very tempting to have a electronic accordion. And the
question of repair may not be a point way one would bay a electronic
accordion or not. If it would be affordable for a very low price it may
even be a good alternative even the sound is not perfect.
Mass production in China would be so cheap compared with mass production
of acoustic accordions.
And if really new features come that make the instrument something new
and not just a poor copie of an acoustic instrument, may be I would be
tempted too to use one.
I would like to see a combination of electronic and acoustic accordion.
Using real reeds to produce the sound and electronic valves (microwave
motors).(Electromagnets are in use on selfplaying instruments but the
are very larges and heavy and the us to much power) Then electronic also
could be used to retune reeds on the fly, so you would get every wanted
pitch you like. And electronic keyboards with all reprogram able
features one can think off.
I don’t think I will start on it, but every information on small cheap
microwave motors are welcome.
And if Electronic industry would see a market, I am sure it could be
done at the moment with the technology available today.
Yes, I know I am a bit of a nutty person, but we all need some
perspectives don’t we?
Best regards, Johann
box_man
hey Bruce
Bruce:
You're comparing apples and oranges, but for the sake of friendly discussion
consider this...with the Roland, you walk into a venue, take it out of it's
case and start playing and/or strolling with simulated acoustic accordion
sounds, or orchestral sounds, or both under your finger tips....to the
audience or group, they think you are just playing an accordion and may
notice the cool 'string bass' or 'sax' that seems out of the
ordinary.......other than that, you are immediately entertaining...
actually now you are talking... i mean the way i see it
yes, please tell me all about how a particular device DOES something
for yu that makes your life more fun or easier
tell me how it has something neat that lets you finally do
someting you always wanted to do
show me how using it's strengths it gives you a big smile
i can feel alla that is legit and worthwhile...
i guess it just kinda bugs me when people try to fit
squares into circles then complain or groan about it
you know every instrument has some neat feature
and even in certain situations a Cordovox might actually
still be usefull or even (marginally) fun just pleeeze don't
grouse about the designers (all been dead for 20 years now)
or parts (ain't none no more) or features (lol if it still fires
up that is a feature)
and no don't have to spend a lot of money... using your
head saves money as far as equipment goes IMHO
just want ppl to use their heads a little not be afraid to try stuff
out and for sure find some ways to stand out from the crowd.
and use good Speakers and Amps PLEASE don't let your
audiences suffer be kind spend a buck or 2 on your sound
heck the first time i saw the matrix switching basses from the
wired side that Fatar supplies to the industry i immediately
saw the potential for re-mapped and literally endless combinations
of bass patterns whether free or just differently chorded
and i railed on and on about it to every ear i could find over there
i mean all ya had to do is write a little more code for crying out loud
and increase the functionality of the reedless or midi bass on an
accordion by a quantum leap
and that is also the kind of thing a company like Roland brings to
the table... i recall on the harpsichord they had like every possible
tuning (temprement) built into the thing (most ppl had never heard
of most of them but they were there) just because that is the way
they do things
and yes ppl like G___ would like hold crosses up to the lil digital
harpsichord and tell us how it was unnatural and against God
and alla that yeh
freedom from feedback? of course and handy too... been direct to
record in the digital domain for years now so it's not new certainly
and bellows sensors have been reasonable mature for awhile now.
Handy to have it in one package for some, and a limitation for others.
so I love hearing comparisons to your own freedom to play
and perform with different gear you try and have... guess i
don't like trying to compare when comparisons are really
not all that useful as in "can it do this why can't it do that like
that one does it" etc. etc.
Ciao
Ventura
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J. Coon
There is no doubt about it, if you get one you will have a lot of fun
with it.
Bruce Metras
Classical Free-Reed" site written by the editor of "Accordion World"
magazine...
Once on the site, click on "What's New" and then click on
the FR-7 review...
http://www.ksanti.net/free-reed/
"The following product review was originally published in
the March/April 2005 edition of Accordion World magazine
(editor: David Keen). This review was written by David Keen.
This work is presented here by the permission of Accordion
World.
Following this review you will find some additional comments
by Robert Stead. "
johann pascher
Hi,Bruce Metras
Thanks for the link!
Long story of promotion, or don’t you think so?
More interesting to me is the comment :
Additional Notes
by Robert Stead
“After playing it,” ----- “I must qualify it by saying that it is a
virtual instrument. I have been working with MIDI instruments since 1991
and have come to appreciate their versatility. However, I have yet to
experience a virtual instrument that can match the true color of the
real thing. This is true for the accordion also. While the accordion
sounds in the Roland are amazing”--- “ I do not believe it will ever
replace the complex overtones and reed combinations in an acoustic
accordion.”
Best regards, Johann
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Bruce Metras
Hi Johann, I've answered within your text..
> Hi,Bruce Metras
> Thanks for the link!
You are quite welcome!...and I very much enjoy your sense of humor!!
>Long story of promotion, or donđt you think so?
Taking it at face value, it looks like David Keen, the editor of "Accordion
World" magazine was excited about the FR-7 and attempted to talk about many
of it's features in a limited amount of space..... as I've never read any
other reviews by the author, I have no way of knowing if he 'promotes' all
the intruments he reviews.... perhaps you have more information on this to
share as this is a European magazine?
> More interesting to me is the comment :
>
> Additional Notes
> by Robert Stead
> ģAfter playing it,ē ----- ģI must qualify it by saying that it is a
> virtual instrument. I have been working with MIDI instruments since 1991
> and have come to appreciate their versatility. However, I have yet to
> experience a virtual instrument that can match the true color of the
> real thing. This is true for the accordion also. While the accordion
> sounds in the Roland are amazingē--- ģ I do not believe it will ever
> replace the complex overtones and reed combinations in an acoustic
> accordion.ē
>
> Best regards, Johann
Johann, I would think the above comment would interest you because you
agree?...... perhaps this quote would also be interesting to you:
"Johann's hand built accordion is beautiful to look at and lovely to listen
to, but it will never be a match for the authentic sounding 'string bass' of
the Roland FR-7.... nor does Johann's accordion have the ability change
tuning from 440 to 442 or 444 at the touch of a button..... or to change
scale temperaments quickly or to change bass/treble volume/balance as
needed... I also find the lack of good orchestral sounds on his acoustic
disappointing. As nice as Johann's acoustic accordion is, I think it will
never compete with the Roland's capabilities in the MIDI arena".
Best regards and with sincere respect for your craftsmanship,
Bruce
Art
"Bruce Metras" <bme...@pacbell.net> wrote in message
news:BE814ABD.23A42%bme...@pacbell.net...
>
> Hi Johann, I've answered within your text..
>
>> Hi,Bruce Metras
>
>> Thanks for the link!
>
> You are quite welcome!...and I very much enjoy your sense of humor!!
>
>>Long story of promotion, or donąt you think so?
>
> Taking it at face value, it looks like David Keen, the editor of
> "Accordion
> World" magazine was excited about the FR-7 and attempted to talk about
> many
> of it's features in a limited amount of space..... as I've never read any
> other reviews by the author, I have no way of knowing if he 'promotes' all
> the intruments he reviews.... perhaps you have more information on this to
> share as this is a European magazine?
>
>> More interesting to me is the comment :
>>
>> Additional Notes
>> by Robert Stead
>> łAfter playing it,˛ ----- łI must qualify it by saying that it is a
>> virtual instrument. I have been working with MIDI instruments since 1991
>> and have come to appreciate their versatility. However, I have yet to
>> experience a virtual instrument that can match the true color of the
>> real thing. This is true for the accordion also. While the accordion
>> sounds in the Roland are amazing˛--- ł I do not believe it will ever
>> replace the complex overtones and reed combinations in an acoustic
>> accordion.˛