What makes a Bayan different from an accordion. They seem 'boxier' and I know they are tuned dry and might have free bass etc. What makes their sound different? Reed type, interior shape? Would a small Bayan keep the same characteristics? Juss curious. Bobalexander
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A truly bayan has something in common with bandoneon: no wooden reed blocks. Each reed is riveted in a single long metal plate, and each of these plates is a "reed block". Hence, no wax is used. Also, the reed shape is rectangular and bass reeds are longer. Buttonboard is placed higher than in accordions, so your right hand position is more away from you than in regular accordions. That is what I can recall now. The sonority is different. Now, I've seen "bayans" (the cheaper ones I guess) that are built more like regular accordions, with wooden reed blocks and wax to affix individual reed plates to them, like our accordions. "Bob Alexander" <balexan1@twcny.rr.com> wrote in message news:289E3D23-8BF5-11D9-BDBC-000393D28176@twcny.rr.com...>
What makes a Bayan different from an accordion. They seem 'boxier' and> I know they are tuned dry and might have free bass etc. What makes> their sound different? Reed type, interior shape? Would a small Bayan> keep the same characteristics?> Juss curious.> Bobalexander>
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"Bob Alexander" <balexan1@twcny.rr.com> wrote in message news:289E3D23-8BF5-11D9-BDBC-000393D28176@twcny.rr.com...>
What makes a Bayan different from an accordion. They seem 'boxier' and> I know they are tuned dry and might have free bass etc. What makes> their sound different? Reed type, interior shape? Would a small Bayan> keep the same characteristics?> Juss curious.> Bobalexander>
A bayan is a B-system chromatic accordion that was promoted in Russia during the communist era as a native instrument as opposed to the piano accordion which was associated with church music, and decadent Westernism. It often has a converter bass to change to single notes.
"Art" <amust@bellsouth.net> wrote in message news:HnHVd.18$Q83.4@bignews5.bellsouth.net...> A truly bayan has something in common with bandoneon: no wooden reed> blocks. Each reed is riveted in a single long metal plate, and each of these> plates is a "reed block". Hence, no wax is used. Also, the reed shape is> rectangular and bass reeds are longer. Buttonboard is placed higher than
accordions, so your right hand position is more away from you than in> regular accordions. That is what I can recall now. The sonority is> different. Now, I've seen "bayans" (the cheaper ones I guess) that are
built> more like regular accordions, with wooden reed blocks and wax to affix> individual reed plates to them, like our accordions.> I don't think the characteristic of the bayan depends on whether it is internally like a bandoneon or not, which actually I have never seen one made that way. I have seen them with reed blocks like a regular accordion, and with the reeds fastened directly over the valve holes. And with both methods in the same accordion. A bayan is a Russian accordion, a B-system chromatic, often with a converter bass that can be changed to play either basses and chords or single notes.
Yes, Ike, I've seen the kind you described with wooden reed blocks (I said that already), and the ones with individual reeds riveted to metal plates. I think the latest is the real "bayan", although I know both are called "Bayan". "Ike Milligan" <accordiondocxyzxyzxyz@mindspring.com> wrote in message news:f0IVd.345$CW2.239@newsread3.news.atl.earthlink.net...>
"Bob Alexander" <balexan1@twcny.rr.com> wrote in message> news:289E3D23-8BF5-11D9-BDBC-000393D28176@twcny.rr.com...>>
What makes a Bayan different from an accordion. They seem 'boxier' and>> I know they are tuned dry and might have free bass etc. What makes>> their sound different? Reed type, interior shape? Would a small Bayan>> keep the same characteristics?>> Juss curious.>> Bobalexander>>
A bayan is a B-system chromatic accordion that was promoted in Russia > during> the communist era as a native instrument as opposed to the piano accordion> which was associated with church music, and decadent Westernism. It often> has a converter bass to change to single notes.>
A truly bayan has something in common with bandoneon: no wooden reed >blocks.
Bandonion chambers are quit different, and the reed is turned compared to usual accordions. Bandoneons have the reed tip close to the opening. Accordions and bayans have the revet close to the opening. Never have seen a bayan without a reed block. and I cant imagine how this should be realized, do you mean the reed block is not removable and the chambers are attached to the sound board?
Each reed is riveted in a single long metal plate,
OK, Mensure is different rectangular tongues.
and each of these plates is a "reed block".
I would say: Is on a reed block. >Hence, no wax is used. OK, leather is used as I use it on my self-built accordions but has not a noticeable influence on the sound. Makes it easier to remove the long plate and wax is difficult to use for seeling this long plates. >Also, the reed shape is rectangular and bass reeds are longer. OK. >Buttonboard is placed higher than in accordions, so your right hand >position is more away from you than in regular accordions. >That is what I can recall now. >The sonority is different. OK. >Now, I've seen "bayans" (the cheaper ones I guess) that are built >more like regular accordions, with wooden reed blocks and wax to affix >individual reed plates to them, like our accordions.
The are most likely not from Russia, some modern Bayans came from itally as well.
Best regards, johann
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No, Johann, I actually meant that the bayan has the reeds mounted in a long metal plate rather than in single plates, like accordions, but of course these plates are mounted in blocks, only that this is a different kind of block, and wax is not used to affix the plates to this block, and in this the construction is very similar to the bandoneon. I did not meant that the bayan construction is identical to the bandoneon, only resembles it in the reeds that are riveted to long metal blocks, different to the accordion where each reed is monted in a single reed plate. Finally, Johann, I've seen russian bayans with single reeds/plates. Yes, they were also made in Russia, but I guess due to the poor finish that they are cheaper instruments. Thanks for your correction regarding the wooden blocks.
"johann pascher" <j_pascher@yahoo.de> wrote in message news:42275956.2040408@utanet.at...>
Hi, Art!>
A truly bayan has something in common with bandoneon: no wooden reed> >blocks.> Bandonion chambers are quit different, and the reed is turned compared> to usual accordions. Bandoneons have the reed tip close to the opening.> Accordions and bayans have the revet close to the opening.> Never have seen a bayan without a reed block.> and I cant imagine how this should be realized, do you mean the reed> block is not removable and the chambers are attached to the sound board?>
Each reed is riveted in a single long metal plate,> OK,> Mensure is different rectangular tongues.>
and each of these plates is a "reed block".> I would say:> Is on a reed block.> >Hence, no wax is used.> OK, leather is used as I use it on my self-built accordions but has not> a noticeable influence on the sound. Makes it easier to remove the long> plate and wax is difficult to use for seeling this long plates.> >Also, the reed shape is rectangular and bass reeds are longer.> OK.> >Buttonboard is placed higher than in accordions, so your right hand> >position is more away from you than in regular accordions.> >That is what I can recall now.> >The sonority is different.> OK.> >Now, I've seen "bayans" (the cheaper ones I guess) that are built> >more like regular accordions, with wooden reed blocks and wax to affix> >individual reed plates to them, like our accordions.>
The are most likely not from Russia, some modern Bayans came from itally> as well.>
Best regards, johann>
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A bayan is a B-system chromatic accordion that was promoted in Russia
during> the communist era as a native instrument as opposed to the piano accordion> which was associated with church music, and decadent Westernism. It often> has a converter bass to change to single notes.
As some1 who grew up in exUSSR I can authoritatively say that PA was not quite associated with church music and/or any Western decadence
One had total freedom of choice of instrument, as long as the only type of music played was Communist marches & hymns ( a joke of course)
In stores, there was a 50-50 split between bayans/accordions (russian "garmoshki" were also available). A decent instrument would set one back 100-300 roubles (about 1m comp for a skilled worker).
In elementary schools, on average, about 70% of kids were going for musical schools (very affordable for every1) and bayans and PAs were rather very popular. YOu'd still learn piano as mandatory second instrument. 2-3 of 3-4 hrs sessions a week, with concerts etc, in small classes, taught by proper music teachers.
End result: most of ex Soviet/Russian players in Intl competitions have about 12 years (!!!) of _formal_ music education. 12 years of _daily_ practicing, hundreds of performances.
Compare this to avg age of American accordion student (70?) and total of 0.00000001% of American kids that learn accordion today.
A truly bayan has something in common with bandoneon: no wooden reed>
blocks. Each reed is riveted in a single long metal plate, and each> of these > plates is a "reed block". snip
. The sonority is > different.
I'm not familiar with that term, I think you mean the timbre is different.
Now on the single long metal plate vrs individual plates, I am not sure how that would affect the timbre, but it would make repair more dificult since a new reed would have to be fitted into the plate instead of just replacing a single reed. I don't think that would be a good thing and I would suspect that it would be a way to cut the cost of production and make a cheaper accordion. It would save labor during construction but increase labor and expense of repair.
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Hey, indeed! Bayan (and bandoneon) repairs are more difficult, and broken notes are a pain in the neck. "Jim C" <liteways@tir.com> wrote in message news:20050303224222.76219.qmail@web30709.mail.mud.yahoo.com...>
A truly bayan has something in common with bandoneon: no wooden reed>>
blocks. Each reed is riveted in a single long metal plate, and each>> of these>> plates is a "reed block". snip>
. The sonority is>> different.>
I'm not familiar with that term, I think you mean the timbre is> different.>
Now on the single long metal plate vrs individual plates, I am not sure> how that would affect the timbre, but it would make repair more> dificult since a new reed would have to be fitted into the plate> instead of just replacing a single reed. I don't think that would be> a good thing and I would suspect that it would be a way to cut the cost> of production and make a cheaper accordion. It would save labor during> construction but increase labor and expense of repair.>
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I guess several factors determine the different timbre, or "sound, Those long metal plates (nickel in bandoneons, not sure what is in bayans) incide in the sonoric quality of bayans and bandoneons. By instance, the bandonion register in accordions never sound quite similar to the authentic bandoneons. Also, in bandoneons the reed position relative to the airflow is different (more close maybe to the accordion reeds in cassotto). Still, not the same. Those metal plates do a lot! "Jim C" <liteways@tir.com> wrote in message news:20050303224222.76219.qmail@web30709.mail.mud.yahoo.com...>
A truly bayan has something in common with bandoneon: no wooden reed>>
blocks. Each reed is riveted in a single long metal plate, and each>> of these>> plates is a "reed block". snip>
. The sonority is>> different.>
I'm not familiar with that term, I think you mean the timbre is> different.>
Now on the single long metal plate vrs individual plates, I am not sure> how that would affect the timbre, but it would make repair more> dificult since a new reed would have to be fitted into the plate> instead of just replacing a single reed. I don't think that would be> a good thing and I would suspect that it would be a way to cut the cost> of production and make a cheaper accordion. It would save labor during> construction but increase labor and expense of repair.>
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"Gerd Mayer" <gemay43@yahoo.ca> wrote in message news:20050304002304.77097.qmail@web52801.mail.yahoo.com...>
Hello Ike,> My quesstion is not about Bayans. Having read your treatise on "Reed
Installation", my respect to you, I have a question: My latest accordion puts out more volume than any of the several I have played before. It makes it great for strolling. It is by Settimio Soprani, early 70's, 4/4. The reed blocks are "nailed down", plus 'bees' wax. Do you know what might cause the increased volume over other accordions? P.S. The interior, when I traded down for it last year, was pristeen. This machine was played very little and has never been "re- tuned". Just curious as to why it would produce such a greater volume of sound than what I played before.> Thank you,> Gerd> Probably better reeds, and better wax. If the wax is porous fom age it won't hold the reeds tight against the wood, and also leak air. Nails may help slightly. Also if there were 4 sets of reeds as opposed to 3 and if there is no piccolo set, etc.
Some of the Settimio Sopranis had ampliphonic reed bars which were very expensive to make. The treble would have 10 or 11 reed bars and 6 in the bass. These gave an effect almost like a tone chamber but the accordion weighed less. There was an aluminum bar screwed down along the tops of the reed bars to connect them acoustically o as to transmit sonority into the various chambers and allow the vibrations to reinforce the various reeds that were played in harmony. Incidentally that may be a factor in the sonority when the reeds are on one long plate instead of separate as in a bandoneon or some bayans. Later these many years the reed flaps that were upside down on the horizontal reed bars when playing are all sagging and need to be replaced and new wax of course is called for. When that is done these are really great accordions. Also the treble valve pallets were glued on with hide glue and are coming loose from the key rods, and need to be reglued, as well as the treble black keys which were also put on with hide glue.
You are correct I also think this is the main reason way some of the valves are be neve the keyboard. I i also placed one row of plaets under the keyboard on my last diatonic instrument end I found that it saves a lot of space. So I could get 104 reeds into a box usually used only for a abut 80 reeds on the treble side.( 52 treble buttons) But the key mechanic is much more complicated. And the sound colour is effected especially on the row under the key board.
I had forgotten about the mounting of the keyboard. On a piano > keyboard the keyboard is mounted to the back on teh accordion and the > pallets and valves are in front of the keys. On button keyboards, the > keyboard is mounted forther forward and one row of pallets and valves > is between the keyboard and the player. I guess it is so they can get > all of those notes in the shorter space. >
Best regards, johann
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About the long reed plates nailed to the wooden block with a leather gasket for air tightness, here is my opinion.
I do think long reed plate make a big difference in tone of the reed. Here are some toughts:
Did you ever see a piano tuner putting the tuning fork in contact to a wooden surface to amplify the vibration of the tuning fork? You can try it yourself: Knock the tuning fork on your knee (never on a hard surface since it will tune out the tuning fork) and leave it vibrating up in the air, you wont hear it very much. But if you old it tight against a wooden or any large surface, the sound is amplified by the surface that becomes the "speaker" of the tuning fork. Now, if you vary the force applied to make the contact, the volume is altered because some energy is lost. Tighter the contact is, bigger the volume gets.
Nailing the plate (single or multi song plate like the bayan) to the wooden block make a tighter contact than just wax. With the wax, some energy is lost between the plate and the wooden block. Picture the plate "mooving" in the wax because it really does. Also, the reed itself will loose its energy if the plate is not tight. High frequencies are lost. Figure the reed talking to the plate:
Hey! Stop moving, I'm the one that is producing the sound here!
This is one of the reason chromatic accordions sounds brighter than piano accordions since most chromatic accordions (especially the one for the French Musette market) have nailed plates with no wax.
Sound is produced by a "mecanic" vibrating system. Loose up that "mecanic", you loose some sound. The long single plate encountered in bayans make for a more "rigid" and "stiffer" system than multi single plated system like the regular accordion. In regular accordions, each plate is on its own, no help from no-one else. The long single plate is power from union. Rigidity is better, less energy lost. Same as the system Ike was reffering to in the Septimio Soprani:
"There was an aluminum bar screwed down along the tops of the reed bars to connect them acoustically o as to transmit sonority into the various chambers and allow the vibrations to reinforce the various reeds that were played in harmony."
I think it is the steadyness and the stiffness gained by this aluminum bar that made the sound better.
johann pascher wrote:> OK, leather is used as I use it on my self-built accordions but has not > a noticeable influence on the sound. Makes it easier to remove the long > plate and wax is difficult to use for seeling this long plates.
I have build a diatonic accordion in my spare time over the last Year. It was my second completely built box. If you like to see a few pictures: http://elektor.htl-leonding.ac.at/~jp/privat/20041104/INDEX.HTM More pictures are on the server, all other pictures ware made during the building process. The size and the weight of the box is about the same as a 3 row Styrian type diadinic instrument. Usual 3 row boxes do have the dimension 29 to 20 cm. Bass side: The box has my own bassystem similar to the first one. 27 bass buttons 8 double and one single helicon fundamental basses. 7 major + 2 without 3 rds - chords on push 5 major + 3 minor + 2 without 3rds - chords on pull
Treble side: 52 Buttons on 4 rows. 2 register switches to switch of every register set. 2 sets of reeds, Antonelly tipo a mano, hand riveted. Lowest tone: B Highest tone: b’’’
Weight: 5,6 kg with belt. Size: 31cm to 18cm height: 33 cm
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I also would agree with you that one main factor is the riggedness of the system.
I have some experience now but it may not be the last conclusion. Manly for the customer remains he can lesion to the different Instruments very care fully and he will find many differences on all this different instruments.
I used screws and leather for this reason and mainly because I think it is the real traditional way Viennese instruments ware made and I always felt sorry if someone did replace leather and screws with wax. It is mach more work to do it with leather and nails or screws. Also nearly all instruments from Klingenthal ware made without using wax. May be the Italian instrument maker did prefer wax for attaching the reeds to the reed block.
Perhaps is someone willing here on the list to tell as more. I don’t think it is a lot of difference in sound, but again it effects the sound.
Resonance is also affected and Ike is sure also not completely wrong with his idea that some other reeds get in resonance ad contribute to the sound. I notice this effect very strongly on the ditonic Instrument because especially on the one that is tuned to just intonation scale.
But again the contribution to changes in sound is rather little, because most of the sound is not radiated by the reed or other resonating reeds or the reed block and case and so on. Nearly all what we hear is a question of air moving and producing the sound, sure is some close relation with all other parts of the accordion. So reed chambers and other sound affecting reflections and cavities have a mach more noticeable affect as sound radiated directly by the reed the reed frame and so on.
This gets so far that really the pith of the sound is not completely equal if the reed is oscillating when air flows through or it is just oscillating because it is in resonance because emerge come across the reed block. At the moment I understand a reed in combination with all around it, more as a sort of pipe (chamber) with very close coppeld impulse generator (the reed tongue) and air is oscillating and produce the pith with all overtones we hear. I explain a lot to my self as sort of parallel understanding of Rf technique. There is not really black and white it is always something in between may be it is close to black or close to white still everything is grey. To get as much volume to or ear the energee that was applied trough air pressure should be radiated via a sound spectrum, we like to hear without loss of energy through other energee translations like heat.
If the surrounding system is ore rigid and reflects the weaves (the energee) we have is nearly the optimum. In contraire if the surrounding system is more likely to absorb the waves we loos this energy and transfer it most likely to heat. We use this phenomena to measure the radiation of sound in sound dead chambers or to measure electro magnetic fields or radio frequency fields in rooms with absorbing material on the wall. Different material on the walls is used for low sound frequencies compared to high frequencies electromagnetic fields. But the system is the same. The waves get into the wall and are absorbed without nearly any reflection. For low frequencies the material is some sort of soft material for Rf Ferrite is used.
If you have ever been into a sound dead room you could imagine what the difference is.
OK, got carried away a bit hope some of you are interested, all is my opinion. So to say it again nice to have read your comment, from you Mario and from you Ike.
I love to here some more!
Johann
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One way a tuner can get an idea of how much is coming from the vibrating reed and how much is from the air that is forced through is to pluck (don't use fingers) the reed and note how much sound is heard vrs the same reed sounded by air flowing through it. If the reed is sounded by plucking, it will not be very loud but with air flowing it will be loud.
I don't recomemd that this experiment be done by anyone on a good accordion unless they are a tuner, because you can damage the reed if you get finger prints on it or bend it too far while plucking.
--- johann pascher <j_pascher@yahoo.de> wrote:
Hello, Mario Bruneau!>
I, thanks for your explanation!>
I also would agree with you that one main factor is the riggedness of>
the system.>
I have some experience now but it may not be the last conclusion.> Manly for the customer remains he can lesion to the different > Instruments very care fully and he will find many differences on all > this different instruments.>
I used screws and leather for this reason and mainly because I think> it > is the real traditional way Viennese instruments ware made and I> always > felt sorry if someone did replace leather and screws with wax. It is > mach more work to do it with leather and nails or screws.> Also nearly all instruments from Klingenthal ware made without using> wax.> May be the Italian instrument maker did prefer wax for attaching the > reeds to the reed block.>
Perhaps is someone willing here on the list to tell as more.> I dont think it is a lot of difference in sound, but again it> effects > the sound.>
Resonance is also affected and Ike is sure also not completely wrong > with his idea that some other reeds get in resonance ad contribute to>
the sound. I notice this effect very strongly on the ditonic> Instrument > because especially on the one that is tuned to just intonation scale.>
But again the contribution to changes in sound is rather little,> because > most of the sound is not radiated by the reed or other resonating> reeds > or the reed block and case and so on. Nearly all what we hear is a > question of air moving and producing the sound, sure is some close > relation with all other parts of the accordion.> So reed chambers and other sound affecting reflections and cavities> have > a mach more noticeable affect as sound radiated directly by the reed> the > reed frame and so on.>
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Mary Kay wrote:> "We" have let TV rob so many of us of the ability to "make our own> enjoyment" by doing mentally challenging things like music.
It's not just TV; it's broadcast/recorded media of all kinds. We get lazy and/or selfconscious and leave the job to the professionals.
Of course the folks here are making (some of) our own music. But before we get too proud: How many of us do any story-telling? (I do, a tiny bit.) How many dance? (I don't, really.)
"Singing should be a group activity. Ask any wolf."
Ike Milligan wrote:> I totally agree about the hypnotic effect. Hey Ike - By the way, I just packed up my Parrot to ship off, and I included a copy of your Web page re: accordion care. It has your business address on it, etc. so may bring you some business somehow someday (hopefully you will not get asked to retune the Parrot though It is a really good page at http://www.1accordion.net for those who want to see - I ran across that page a long time ago before I knew you wrote it!
"Mary Kay" <mkaREMOV@aufranceREMOV.com> wrote in message news:422CD6C5.231D@aufranceREMOV.com...> Ike Milligan wrote:> >
I totally agree about the hypnotic effect. Hey Ike - By the way, I just> packed up my Parrot to ship off, and I included a copy of your Web page> re: accordion care. It has your business address on it, etc. so may> bring you some business somehow someday (hopefully you will not get> asked to retune the Parrot though It is a really good page at> http://www.1accordion.net for those who want to see - I ran across that> page a long time ago before I knew you wrote it!>
Mary Kay
I get a lot of compliments on my page which by the way I'm grateful for. But I really need to rewrite all that stuff and make my page look better. I wrote all the html code myself and technically it is plain vanilla with no javascript or frames. It's hard to find the time to be a webmaster and if I hired one it probably would cost a small fortune. As to tuning a parrot, I did that once, and it is probably a waste, unless there are better reeds in them nowadays than in the one I tuned, since the steel was so bad it wouldn't stay in tune. -- www.1accordion.net
Hey Ike, it's soo easy to build a web page with FrontPage. Go see on my re-vamped web site wich I did in two weeks only with FrontPage. Never worked with FrontPage before and still managed to build this new site of mine. Of course the graphics I originally made with PhotoShop but apart from my artist's talent, all was done with FrontPage. You should try it. Stop using html codes, you dont need them anymore...
Ike Milligan wrote:> "Mary Kay" <mkaREMOV@aufranceREMOV.com> wrote in message> news:422CD6C5.231D@aufranceREMOV.com...>
Ike Milligan wrote:>>
I totally agree about the hypnotic effect. Hey Ike - By the way, I just>>packed up my Parrot to ship off, and I included a copy of your Web page>>re: accordion care. It has your business address on it, etc. so may>>bring you some business somehow someday (hopefully you will not get>>asked to retune the Parrot though It is a really good page at>>http://www.1accordion.net for those who want to see - I ran across that>>page a long time ago before I knew you wrote it!>>
Mary Kay>
I get a lot of compliments on my page which by the way I'm grateful for. But> I really need to rewrite all that stuff and make my page look better. I> wrote all the html code myself and technically it is plain vanilla with no> javascript or frames. It's hard to find the time to be a webmaster and if I> hired one it probably would cost a small fortune.> As to tuning a parrot, I did that once, and it is probably a waste, unless> there are better reeds in them nowadays than in the one I tuned, since the> steel was so bad it wouldn't stay in tune.
"Mary Kay" <mkaREMOV@aufranceREMOV.com> wrote in message > news:422CD6C5.231D@aufranceREMOV.com...>
Ike Milligan wrote:>>
I totally agree about the hypnotic effect. Hey Ike - By the way, I>> just packed up my Parrot to ship off, and I included a copy of your>> Web page re: accordion care. It has your business address on it,>> etc. so may bring you some business somehow someday (hopefully you>> will not get asked to retune the Parrot though It is a really>> good page at http://www.1accordion.net for those who want to see ->> I ran across that page a long time ago before I knew you wrote it!>>
Mary Kay>
I get a lot of compliments on my page which by the way I'm grateful> for. But I really need to rewrite all that stuff and make my page> look better. I wrote all the html code myself and technically it is> plain vanilla with no javascript or frames. It's hard to find the> time to be a webmaster and if I hired one it probably would cost a> small fortune. As to tuning a parrot, I did that once, and it is> probably a waste, unless there are better reeds in them nowadays than> in the one I tuned, since the steel was so bad it wouldn't stay in> tune.
I have a Parrot that is about two years old and the tuning is still fine.
It is a pain to keep a web page up. Some sites have wizzards that help as long as you want their format. If you make changes without the wazard, then everything has to be by hand after that. Then you come back to it several months later to up date it and have to relearn what you did in the first place and why.
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"Mario Bruneau" <mariobruneau@abcde.net> wrote in message news:Ey7Xd.11718$JH1.545332@news20.bellglobal.com...> Hey Ike, it's soo easy to build a web page with FrontPage. Go see on my > re-vamped web site wich I did in two weeks only with FrontPage. Never > worked with FrontPage before and still managed to build this new site of > mine. Of course the graphics I originally made with PhotoShop but apart > from my artist's talent, all was done with FrontPage. You should try it. > Stop using html codes, you dont need them anymore...>
Ike Milligan wrote:>> "Mary Kay" <mkaREMOV@aufranceREMOV.com> wrote in message>> news:422CD6C5.231D@aufranceREMOV.com...>>
Ike Milligan wrote:>>>
I totally agree about the hypnotic effect. Hey Ike - By the way, I just>>>packed up my Parrot to ship off, and I included a copy of your Web page>>>re: accordion care. It has your business address on it, etc. so may>>>bring you some business somehow someday (hopefully you will not get>>>asked to retune the Parrot though It is a really good page at>>>http://www.1accordion.net for those who want to see - I ran across that>>>page a long time ago before I knew you wrote it!>>>
Mary Kay>>
I get a lot of compliments on my page which by the way I'm grateful for. >> But>> I really need to rewrite all that stuff and make my page look better. I>> wrote all the html code myself and technically it is plain vanilla with >> no>> javascript or frames. It's hard to find the time to be a webmaster and if >> I>> hired one it probably would cost a small fortune.>> As to tuning a parrot, I did that once, and it is probably a waste, >> unless>> there are better reeds in them nowadays than in the one I tuned, since >> the>> steel was so bad it wouldn't stay in tune.
"Mario Bruneau" <mariobruneau@abcde.net> wrote in message news1tXd.21325$JH1.896408@news20.bellglobal.com...> Hey John your web pages are nice!> Your site is nice but you can do better with Microsoft FrontPage software. > It is so easy, you basically enter the text and graphics the way you want > it to appear by choosing a model and just fill the place-holders sort of. > It took me only 2 weeks to get to know how to use FrontPage.>
You have a very impressive variety of new accordions for sale. Fisitalia, > Scandalli and Paolo Soprani wich I know but some new makers to me like > Alessandrini, Ottavianelli. Why not get a french accordion like Cavagnolo > or Maugein?>
I especially like their Vedette 414 piano model with their all wood finition. Maugein is THE piano accordion that sound closest to the chromatic accordion sound I've ever tried. Just call him and order one like this. Sure it will sell a lot in North America since there are no French accordions available here in North America for what I know.
"Mario Bruneau" <mariobruneau@abcde.net> wrote in message > news1tXd.21325$JH1.896408@news20.bellglobal.com...>
Hey John your web pages are nice!>>Your site is nice but you can do better with Microsoft FrontPage software. >>It is so easy, you basically enter the text and graphics the way you want >>it to appear by choosing a model and just fill the place-holders sort of. >>It took me only 2 weeks to get to know how to use FrontPage.>>
You have a very impressive variety of new accordions for sale. Fisitalia, >>Scandalli and Paolo Soprani wich I know but some new makers to me like >>Alessandrini, Ottavianelli. Why not get a french accordion like Cavagnolo >>or Maugein?>>
Here is a photo of their Pianybal 37 model I've just scanned from their catalog to show you their real "parqueterie" wood finition. This Pianybal 37 MMM small model is perfect for strolling but they can make this finition on their more professionnal line model Vedette 414 LMMM
I especially like their Vedette 414 piano model with their all wood > finition. Maugein is THE piano accordion that sound closest to the > chromatic accordion sound I've ever tried. Just call him and order one > like this. Sure it will sell a lot in North America since there are no > French accordions available here in North America for what I know.>
"Mario Bruneau" <mariobruneau@abcde.net> wrote in message >> news1tXd.21325$JH1.896408@news20.bellglobal.com...>>
Hey John your web pages are nice!>>> Your site is nice but you can do better with Microsoft FrontPage >>> software. It is so easy, you basically enter the text and graphics >>> the way you want it to appear by choosing a model and just fill the >>> place-holders sort of. It took me only 2 weeks to get to know how to >>> use FrontPage.>>>
You have a very impressive variety of new accordions for sale. >>> Fisitalia, Scandalli and Paolo Soprani wich I know but some new >>> makers to me like Alessandrini, Ottavianelli. Why not get a french >>> accordion like Cavagnolo or Maugein?>>>
I build my web pages just by myself and I had to use HTML codes.>>>>
Could you elaborate why do you not need them? ( I am not a >>>> professional web builder but have many people complements' me about >>>> my web site)>>>>
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