Knowing that a lot can go wrong during the waxing process, I practiced control and technique before actually commiting wax to reed. It was ladled around the reeds using a tool fashioned out of a brass tube (pictured below the wax pot). I used my hide glue experience and put together a water bath to control the temperature of the melted wax. Anyone who has turned their accordion into a maraca by leaving it in a car trunk for too long can tell you that. I went through a lot of brass rod before ten pieces matched to my satisfaction. The flapper rods were bent by hand using several versions of makeshift jigs. The internal flappers are glued to leathers that act as hinges, and are held in the closed position by the springs. The bass box consists of three chambers, one each for the bass note, chord, and air. You can also see the stop system that slides between each bank of reeds and their sound holes. Here, you can see the reeds waxed in place, and the blocks installed. The reeds are Binci's that I purchased through Danny Dyson.
I opted to order the bellows from a well established company in Italy, Galassi Accordion Bellows. The information I gathered about materials and construction was fague at best. The original plan was to build my own bellows, but there were many stumbling blocks. The flappers and buttons were cut from oversized ebony guitar bridge blanks the flappers shaped on a router table and the buttons turned on a lathe. Fortunately, there is an dollhouse builder's supply store within driving distance that allowed me to pick and choose the pieces I needed. The reed bank stop assembly and the reed blocks were constructed out of variously dimensioned wood (3/32" to 1/8"), available through hobby shops. I made extensive use of my planer and router, but it could have just as easily been done with hand tools - though more time consuming. I did have to pre-stain the plates and frames before gluing. There was nothing out of the ordinary for this aspect of construction. The face plates are rock maple stained yellow. The frames are curly maple stained blue, close in pattern to the C box. Each piece was measured and drawings were made. And it wasn't long after I got the Le Capitaine that curiousity got the best of me, and it was scattered in several pieces on the work table. I requested catalogs from supply houses and ordered repair books (some of which, quite dated). I plowed through newsgroup archives, posted questions, and visited any site remotely associated with diatonic accordions. Not exactly a mecca for builders, players, or suppliers. The goal was to build an accordion in the key of D, and I knew I would have to gather as much information from as many sources as possible before I even turned the light on in the shop. I chose Danny's Le Capitaine based on price and reputation. It screams "Play me!" There are several builders in Louisiana, and a few outside the state as well.
It's an impressive instrument with a lot of power, and a comfortable feel.
My 'C' accordion was made by Danny Dyson, out of Big Lake, La. This is not about the 'right' way this was just my way. No preaching the virtues of one type of reed over another. No debates about butted verses mitered corners. This is not a 'how to' page, but rather a look at the steps it took to build this puppy. The Diatonic, or Cajun accordion was a project on the back burner for quite some time. I'm fascinated in how all the parts and pieces work in harmony, and in some cases, discord. I started out modifying instruments and eventually started building. Of course, the other aspect is what New Englanders call frugal, and everyone else calls cheap. In my case, as a left hander, instruments either didn't exist or were too cost prohibitive. There is a great deal of pleasure in making your own. I've built many instruments over the years: violins, banjos, guitars, hammered dulcimers, a few things I've probably forgotten about, and a few things I haven' t given names to yet.
0 kommentar(er)
