Right Side/left Side Volume?

[CaptainMike]

I'm starting to learn cords and I've discovered that if I play the melody with my right hand and the cords with my left hand the cords totally overpower the melody, even if I only use two buttons. Even normal playing the left side sound louder. (I've got a Stagi 30 button)

 

Has anyone had any luck reducing the volume of one side by adding a layer of fabric or something on one side to even out the volume?

[PeterT]

I'm starting to learn cords and I've discovered that if I play the melody with my right hand and the cords with my left hand the cords totally overpower the melody, even if I only use two buttons. Even normal playing the left side sound louder. (I've got a Stagi 30 button)

Hi Mike,

 

Whilst I understand that the two sides of your instrument might not be well balanced, what I would recommend is that you try to develop a lighter "touch" on the left side of the instrument. The chords, or counter-melody do not have to be too heavy, and you can even shorten the note length of the chords, with practice. This way, whilst the ear will still hear the chords, the ear will not measure their duration, and the overall effect will be more pleasing.

 

Heavy 3 note chords can have their place, but it's also nice to be able to add variety by more subtle use of 1 note (octave playing) and 2 note (middle note of the chord missed out) accompaniment.

 

Regards,

Peter.

[MitfordRI]

I'm starting to learn cords and I've discovered that if I play the melody with my right hand and the cords with my left hand the cords totally overpower the melody, even if I only use two buttons. Even normal playing the left side sound louder. (I've got a Stagi 30 button)

 

Has anyone had any luck reducing the volume of one side by adding a layer of fabric or something on one side to even out the volume?

 

I have a question related to this issue ... is it just Stagi's that have an imbalance in sound between the left and the right?

 

I have a 30 button Stagi (turbo Stagi! worked on by Mr. Tedrow) while I wait for my Morse Ceili (and eventually an Edgley ... sooner or later). The G row on the left hand side is slightly more muffled than the C row on the Right. I.e., D on the left and D on the right, and B in particular, do not sound the same. It's not terrible - perhaps not very noticeable to the listener - but I hear it.

 

I should note that I am right-handed but I don't think my ears are lying to me.

 

 

Lucy

[simbean]

I have a similar problem with my Stephanelli (Chinese) anglo. In my case, because I try and play softly at certain hours during the day, I find some notes sound and others don't for a given bellows pressure. This generally applies to the right-hand (higher-pitched) reeds, which take more bellows pressure to sound than the left hand.

[Peter Brook]

You get this with melodeon bases as well as concertinas. I think because of the larger bass reeds the air take the path of least resistance and escapes through the larger hole (or holes). So if you are playing three buttons on the left side of anglo and one on the right side then the left side will sound louder, one because of the larger reeds and two because you are playing three notes to one.

 

I agree with PeterT that one way to over come this on concertina (and melodeon) is to treat the buttons used for accompaniment as if they are hot - ie don't hold them down long. The tune is the main thing and the accompaniment is there to support and enhance the tune.

 

As you develop your style and ability you can also throw in accompanying notes on the right hand to balance the sound a little more.

 

None of this is easy! I am still working at it and often get it wrong myself. That's one of the challenges of the concertina and probably why it is so much fun to play.

 

Regarding non sounding higher reeds..... if your instrument is new there may be some reluctance for higher reeds to speak, but for a well played in instrument I don't believe this should be the case. My Norman is the opposite, if I want to play very quietly the low reeds stall before the higher ones but you can still play very quietly

Edited May 17, 2007 by Peter Brook

[Dirge]

To answer the original question have a search under 'baffles' and see if you think you could fit one to your machine; they used to be fairly common on older Victorian instruments and there have been discussions and an essay on how to fit them. If the LH is truly louder perhaps having the reeds reset (reducing the gap at the end?) might help.

 

But having pointed out the road to trouble, I'd agree with the pair of Peters, learning to work with it might be best; make the ends uneven and the moment you have to go to the left hand for some melody you are stuffed. Technique will sort it to a large degree, keep your options open and form good habits.

 

Getting to grips with same-air-pressure-on-all-the-notes is part of the fun.

 

As to playing quietly, well I believe that's down to reed quality; the better the instrument the more dynamic range you can expect. For each instrument you have to find the minimum pressure needed to start all the reeds, or perhaps most of them with a mental note that if you play noteX you have to give the bellows an extra bump to get the lazy soandso going.

 

Look I did a quick scratchy example of keeping LH light; first time stodge, second time round up on the points of my toes as it were. (this is a duet not an Anglo but the principle's exactly the same)