Question For The Experts

[Richard Morse]

So, would you in theory be able to sandwich a reed between two reed shoes, top and bottom with a slight gap from each, in such a way that it could start in either direction? Or would the amount that the reed moves mean that it would then become "choked" by the presence of the other reed shoe?

As Dana has said, the air needs to come in from the side of the reed. The double acting reeds I've seen do just that, and like your theory, there is basically two reedplates with a gap between them - but which allows the air to flow in from the sides. The air needs to get into that central space, and does so through a convoluted channel from each side of each side to be directed toward the reed. The tricky part is fashioning the channels such that air doesn't go directly from one side to the other (bypassing the reed entirely - or even significantly).

It wouldn't cut down on the weight a lot but it might mean less space taken up on the reed pan.

The problem is that the reed and plate assembly winds up being a bit thicker AND at least as wide as two typical reedplate assemblies.

 

-- Rich --

[m3838]

If so, why then not approach it from other direction and improve single action, when it sounds on the pull and gulps the air on the push? Or vice versa? When I proposed my idea of modification, the responce I got was that English is such a perfect instrument, it doesn't need improvement.

Seems to me, adapting to single action playing is easier then designing double action reed or redirecting the air inside a concertina.

 

Another note, I remember seen photographs of a large single action Wheatstone concertina, probably duet, where reeds were secluded in special cylindrical chambers. I think the idea of making it single action came from impossibiltiy to fit all reeds into it.

I think I've seen or heard about a number of vintage single-action bass English concertinas, where the reeds are just so large and suck so much air that you only play on the push, then break and expand the bellows for another go.

 

This could be fine for a bass instrument especially in a band setting playing mainly chords or accompaniment, but would be very detrimental on a melodic instrument since I imagine the bellows expansion would be a heavily interrupting event.

 

Not at all. Hohner Club is mainly a pull instrument with large and effective air valve. Mexicans play 3 row accordions moslty on the pull, often with removed bass reeds, so the bass buttons become huge air valve, able to gulp all the air in bellows in a split second. Bandoneons are played mostly on the pull with the use of a large and effective air valve.

I don't even see a reason for 3 row diatonic accordion to be bi-sonoric.