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I do believe though his second set of middle reeds were tuned by Cleveland style accordion tuner extraordinaire Don Krance who created an ever so slight musette.
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He mainly played a LMMH 4/6 reed, 120 bass, dry tuned, Excelsior Symphony without a tone chamber. The Left hand reeds on his non-chambered Excelsior, to this day are the most powerful and purest sound I have ever heard from an Excelsior Symphony, AC, or 911. as I’m not interested in the accordion doing anything more than sound like a real accordion…:)įor some reason, the sound of my fathers accordion always intrigued me because it was so powerful. PLEASE, don’t ask me to recreate this sound today. Comparing to today standards of ‘organ clones’ the reproduction of the Hammond B3 with these instruments was quite poor, but actually unique in itself giving the ‘polka’ organ sound sort of a thing of it’s own.Įxcelsior Symphony – Thanks to the Accordion Gallery for the use of the photo! Often played what was called at the time ‘organ accordions’, and brands like Iorio, Duovox, Elkavox, and certain Castiglione’s were used. Some of the bands that varied there polka styles between different ethnicities, and controlled the bass chair from the Left hand, or played music other than polkas The polish players mainly playing chicago style polkas usually played Giulietti and Excelsior while the Slovenian players mainly performed with Pan and Italo American. Depending on what style of polka music the band was playing, the brand of accordion would always vary. I can remember the first order of business upon arrival at one of these events was for my father and I to check and see what kind of accordion the accordion player was using.