[Daren]

I haven’t opened one for years, but it will be like a standard melodica for tuning and cleaning. The screws will be in different places!

[Daren]

I might try this out!

[Daren]

Thanks for this David, very interesting, looks great too

[Daren]

A tube should collect some of the condensation from the breath before it reaches the reeds, so could give you extra playing time before the reeds get saturated. It’s easy to empty out too.

The Vibrandoneons have a long rigid tube with a U bend where moisture collects, and there’s a little outlet pad where in theory you can release any moisture which builds up. Nice idea!

Larry – a long heated pipe might be a good addition to Dave Brancazio’s heated reed system

[Daren]

Best to link from youtube

[Daren]

Please post the video, this is really interesting!

[Daren]

Good point about the springs Rob, most melodicas use the same springs on all keys, which results in uneven pressure, as there’s more leverage power in the white keys. For me this is just something to get used to.

Looking forward to your views on the Professional 36!

[Daren]

You should find some good info in this long discussion here: https://melodicaworld.com/forums/topic/refinish-of-yamaha-p-32d/

[Daren]

I’ve bought many Yamaha melodicas from Ebay, sent from Japan to the UK with no problem

[Daren]

Hi Rusty, I haven’t heard of a wooden Hohner button melodica. Could it be metal?

[Daren]

A great work of art and science!

[Daren]

Hey Stefan, thanks for your offer to translate! I’m not currently researching the mechanics of the clavietta, so I don’t have an immediate need to read the translation. But I’m sure I’ll want to come back to this in the future. It would also be a great resource for anyone else looking into it, possibly helping them with a project

So I vote for a translation!

[Daren]

Hi Stefan, you might find this 1995 patent useful. I don’t speak German!

[Daren]

After C Major you could try G major, then D major!

[Daren]

I’ve looked through the whole book – this is all the info on how reed material affects the sound.

Reed Plates

Steel has a loud and powerful sound, silver and nickel plates produce a sweet soft sound.

Reed plates were developed in this order for accordions: iron, brass, zinc, bronze, aluminium. Also, copper, ivory, ebony and other materials have been experimented with. Heavier plates such as brass have a more powerful and sonorous sound than aluminium, but aluminium is better for weight. The heavier the base the better, silver being the best, followed by brass, zinc, aluminium and wood.

Reed Tongues

Reed tongues were made from wood, bronze, brass, nickel silver, and are now made form “special Swedish steels”. Nickel silver and silver produce a soft sweet sound in contrast to steel, but don’t have the same power. Bronze produces a bright sound, but inferior in “intensity” (fullness?) to steel. Brass produces a less bright sound, steel is powerful and stable.

Interesting fact

Early accordion maker Paolo Soprani at some point tried making reeds with canes boiled in vinegar and garlic!

[Author]

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