HOW TO USE THIS BOOK The summary of "The Ins and Outs of The Accordion" is broken down into 12 chapters which follow the path of the air through the bellows. Along this path the air meets a series of obstacles which contribute to an overall musical identity. Each chapter in the book is a book in its own right, made up of at least 3 sections. Two sections are dedicated to understanding the parts and the movement of the accordion. The final section is an invitation to explore the most common problems encountered. Some chapters have more than three sections to give greater detail on certain questions or to enable more complex attention to be paid to repair work. For budding repairers, the key to the book lies in the section entitled — "How to identify a problem based on six criteria" . This directs the reader to the right section for each type of problem - First of all, define the type of problem - Select the relative section - Identify exactly where the problem occurs on your instrument - Eliminate the non-relevant chapters - Refer to the problems section of the relevant chapter - Identify the symptoms of your problem on the left hand column - The corresponding diagnosis is on the right It is not unusual to see the same type of problem repeated in several chapters. This book is for all owners of a free reed instrument (accordion, squeeze box, bandoneon, harmonica, concertina...) and those with an interest in instrument making.PRP? PPPPP 2 PPPS =o oS PRP? Se 19 21 22 25 29 31 31 46 49 59 61 61 65 77 79 79 86 93 7 99 99 103 CONTENTS Chapter | : The bellows. | - Presentation of the materials used to make bellows Il - Roles of the elements Ill - Assembly order IV - Problems Chapter Il : Reed blocks. | - Presentation of the materials used to make reed blocks Il - Making reed blocks Ill - Problems Chapter Ill : Plates - Reeds - Leathers | - Presentation of the parts and materials used Il - Their roles Ill - Restoration of the complete reed block section. IV- Problems Chapter IV : Treble plate bass plate - slides | - Presentation of the parts and materials used Il - Their roles Ill - Problems Chapter V : Couplers - palm couplers - chin couplers | - Presentation of the parts and materials used Il - Their roles Ill - Problems IV- Principle of mechanical connections within the coupler unit Chapter VI : Bass convertor system | - Presentation of the parts used Il - Their roles Ill - Problems2 : PPT. PPPIP PPPPPPP BRVP 109 Ww Ww 118 129 131 132 155 157 . 169 171 173 173 174 189 200 205 207 208 209 213 215 . 217 . 231 . 235 Chapter VII : Pallets | - Presentation of the parts used Il - Their roles Ill - Problems ChapterVill : The right hand mechanism | - Presentation of the parts and materials used Il - Their roles Ill - How to dismantle a treble keyboard IV- Problems Chapter IX : The left hand mechanism | - General presentation Il - Presentation of the keyboards Ill- Presentation of the main parts IV- Their roles V - Problems VI- Standard principle for dismantling a bass mechanism Chapter X : The instrument shells | - General presentation Il - Important remark in the production of shells Ill - Problems Chapter XI : Tuning | - What is a coupler symbol 2 Il - Examples of coupler symbols for accordions Chapter XII : The instrument maker's tools ThanksHOW TO IDENTIFY A PROBLEM BASED ON SIX CRITERIA 1) Air leak - 2) Broken register - 3} Air leak without playing 4) Jammed mechonism - 5) Musical problems - 6) Other cases 1} Air leak Chapter | Case: 3-4-5 Chopter Il Case: 4-5 Chapter Ill Case: 12-13-14 Chapter IV Case: 1-2-3-4 Chapter VII Case: 1-2-3-4-5-6 Chapter IX Case : 21 Chapter X Case : 1-2 2) Broken register Chapter {I Case : 1 Chapter IV Case: 5-6-7-8-9-10-11-12-13-14 Chapter V Case: 1-2-3-4-5-6-7-8-9-10-11-12 Chapter VI Case: 1-2-3-4-5-6-7-8-9 3) Air leak without playing Chapter Vil Case: 7-8-9- 10-11-12 Chapter Vill Case: 2-4-5-7-11-15 Chapter IX Cose: 1-2-4-12 4) Jammed mechanism Chapter IV Case : 4 Chapter Vil Case : 3 Chapter VII Case: 1-2-4-5-7-8-9-10-11-12-17 Chapter IX Case: 1-3-5-6-7-8-9 2-13-14-15-16- 17- 18-19-20 5) Musical problems Chapter ll Case : 2-3 Chapter Ill Case: 1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16 Chapter IV Case : 13 Chapter Vil Cose : 7 Chapter X Case : 1 6) Other cases Chapter | Case: 1-2-6 Chapter Vil Case : 13 Chapter Vill Case: 6- 13-14-16TERMS USED IN THE BOOK TO IDENTIFY PROBLEMS Dented bellows Bellows corner Air leaks Bellows fabric worn Coupler stuck Double note is played A tush of air can be heard Metallic noise Metallic parasite My reed has changed pitch The reed is not playing I hear a rush of air instead of music I hear air before the note Air Leak Part of the keyboard does not respond to the coupler Inverter mechanism not smooth Sound escaping A coupler is not working Couplers sticking The couplers do not play true The convertor does not work The note does not play Noisy keyboard Key or button stuck Keyboard noise | hear a noise in the bass section Buttons do not return properly When pressed, the button does not move freely Bass button stuck downOVERVIEW OF PROBLEMS PER CHAPTER CHAPTER | - BELLOWS * Dented bellows Ist case © Bellows corner : 2nd case © Air leaks : 3rd case 4th case Sth case * Bellows fabric worn : 6th case - Pliage carton + Split ot unstuck - Porous leathers - Gasket leak - Air leak on the frame - Fabric worn CHAPTER Il - REED BLOCKS * Coupler stuck Ist case * Double note is played: 2nd case 2 3rd case * A tush of air can be heard : 4th case Sth case CHAPTER III * Metallic noise Ist case 2nd case : 3rd case : 4th case Sth case * Metallic parasite 6th case 7th case - Slide jammed - Airtightness of the reed block base - Air leak between the slots - loosened reed block - Displacement of reed blocks - PLATES, REEDS, LEATHERS - Reed offcentre - Deformed plate - Hole too narrow - Reed touching another part Reed plate fixation - Musical parasites - Noise from the reed block unit >? PPPPP 14 15 15 16 25 25 26 26© My reed has changed pitch ¢ The reed isn’t playing I can hear a rush of air instead of music : © | hear air before the note 2 8th case : 9th case 10th case 11th case 12th case 13th case 14th case 15th case 16th case ~ The sound lacks amplitude - My instrument is increasingly off pitch - Reed jammed in its hole - Reed blocked by a leather - Reed broken - leather not in place - Note muted - Reed not set correctly - Reed not set correctly CHAPTER IV - TREBLE PLATE, BASS PLATE, SLIDES © Air leak © Part of the keyboard does not respond to the coupler © Inverter mechanism not smooth Sound escaping Ist case : 2nd case : 3rd case 4th case Sth case 6th case 7th case + 8th case 9th case 10th case 11th case 12th case 13th case - Screws missing - Screw loose - Sounding board split or not air tight - Sounding board out of shape - Slide not responding - Slide pin broken - Screw loose - Arm not free - Arm jammed - Dirty slides - Reed blocks too tight Foreign body in the slide - Slide stop not set properly PPPD cos PPPPPCHAPTER V - COUPLERS, PALM COUPLERS, CHIN COUPLERS © A coupler is not working Ist case 2nd case : 3rd case : Ath case : Sth case : 6th case 7th case 8th case : 9th case * Couplers sticking * The couplers do not play true: ‘10th case 11th case : 12th case CHAPTER VI © The convertor does not work : Ist case : 2nd case : 3rd case : 4th case Sth case 6th case 7th case 8th case : 9th case - Left hand coupler broken - Coupler twisted - Right hand coupler broken - Friction on the grille - Coupler arm off-centre - Self-positioning spring not working Coupler arm sticking - Reed block too tight - Chin coupler sticking Coupler slide inverter bent - Worn coupler slides - Sound proofing damaged - BASS CONVERTOR SYSTEM - Thickening of the felt - Coupler out - Spring - Convertor blocks or jams - Reed block slides oxidised - Screws loose - Screws loose - Invertor rod bent - Faulty stub axle CHAPTER VII - PALLETS * Air leak |st case 2nd case 3rd case - Pallet out of position - Leather unstuck - Pallet friction Wy PP 2 PPPPPP ee eee ee So 103 103 104 104 106 107 107 107 118 119 120: 4th case 2 Sth case «The note doesn't play: 6th case + 7th case : 8th cose * Sound “leak” : 9th case : 10th case 11th case 12th case * Noisy keyboard 13th case - Mousse breaking up - Diverse leaks - Deformed sounding board - Pallet sticking - Incorrect cut - Moths or worms - Spring out of place - Rod slipping - Spring broken - Hardened felt CHAPTER VIII - THE RIGHT HAND MECHANISM © Key or button stuck Ist case 2nd case 3rd case Ath case Sth case : 6th case : 7th case : 8th case * Keyboard noise 9th case 10th case 11th case 12th case 13th case 14th case 15th case 16th case 17th case - Piano key not set correctly - Diatonic key stuck - Piano key lifted up - Piano key hard to push down - First row stuck - Stub axle broken - wisted pistons - Soundproofing inefficient - Noise in the keyboard - Keys colliding - Pistons colliding behind the button board - Metal edged bass buttons - Noise from soundproofing elements ~ Button felt - Keys clicking - Other noises from the keys - Key broken > ? > PPPPP PPPPPPPD Beever ess 121 122 . 123. 123 125 126 126 126 127 . 128 157 162CHAPTER IX - THE LEFT HAND MECHANISM. | hear a noise in the bass section : Ist case : 2nd case : 3rd case : 4th case * Buttons do not return properly : Sth case 2 6th case : 7th case 8th case : 9th case : 10th case : 11th case 12th case ¢ When pressed, the button does not move freely : 13th case : 14th case : 15th case : 16th case © Bass button stuck down 17th case 18th case : 19th case : 20th case © Air leak : 21th case CHAPTER X Ist case 2nd case - Ist row button twisted - Paddle leathers - Bass grille rubbing against the collector - Spring broken - Key support dirty - Dirty piston stop and alignment - Burring of the pistons - Dirty felt on a standard button board - Bass pins sticking - Button stuck in stepped button board - Button felt stuck on the button board - Bass collectors stuck - Faulty piston guide and wires = Transmission arm marking the pallets mechanism cannot be dismantled - Transmission arm marking the pallets mechanism can be dismantled - Dirty transmission - Replacement of a guide pin + Collector broken - Transmission out of place or broken - Piston support guide loose - Air evacuation pallet ~ THE INSTRUMENT SHELLS - Insect larvae - Shell split P a F ooo oo PRPP . 189 . 189 . 190 . 190 191 191 . 192 192 193 193 193 194 194 195 196 196 197 198 198 199 199 209 210THE BELLOWS chapter | THE BELLOWS IS THE INSTRUMENT'S BREATHING APPARATUSBELLOWS THE BELLOWS IS THE INSTRUMENT’S BREATHING APPARATUS Materials used: © Preformed folded card: an essential component of the bellows, allowing full extension while taking up a minimum of space. * Metal bellows corners: metal protection for the cardboard corners, available in a variety of shapes to go with the different types of accordion shells (the outer casing of the instrument). * Leather: supple, airtight, fine unsplit pelt or cha- mois covering the length and width of the bellows, glued to the outside of the bellows. © Fabric: protection and aesthetic envelope for the card. * Bellows tape: braided, plastic-coated fabric to protect the card folds and corners of the bellows. © Bellows frame: wooden or plastic. It is glued to the bellows and forms an airtight link to the ins- trument's bass and treble mechanism. © Glue: (a range of brands available} for fixing the above elements together. © Bellows strengtheners: to protect the frame from movement. © Pins or screws: attach the bellows to the shell. * Gasket: element between the shell and the fra- me to maintain airtightness. Presentation of the materials used in the bellows.BELLOWS Roles of the elements diagram n°1 1) Card The bellows card is important for ensuring the rigi- dity of the whole unit, the number of folds in the card depends on several criteria: - the type of fold in the bellows can influence the playing style of the instrument, it can be: vigou- Tous, sweeping, soft, fast or slow. So, once the bass reed blocks have been assem- bled in the shell and the movement of the reeds taken into account, one can decide upon the thick- ness of the card to be used. If the instrument maker chooses a bellows with deep folds, the muscial area will be comparatively restricted. For a given amplitude of bellows: the greater the depth of the fold, the fewer folds reguired while on the other hand, shallower folds mean a greater number of folds. (see diagram n°1} *|BELLOWS Another factor influences the choice of the number of folds in a bellows: Let's consider two different bass mechanisms with the same treble sections. (see diagram n°2) diagram n°2 Both instruments have the same reed configurations but the bass plates (fondo) are different and this affects the number of folds required. Note that ins- trument (b) above has more folds than instrument (a), this is to avoid the treble reed blocks from touching the bass reed blocks. 2) Metal corners Bellows corners are generally made out of metal and are shaped prior to assembly. The matal used may vary from one instrument maker to another or in relation to current trends. In the past, a Nickel-Copper-Zinc alloy called "maillechort" was used because it provided an excellent imitation of silver.BELLOWS Today, stainless steel is widely used for its hardness and wear capacities. - Corners are used to closely bind the folded sec- tions of card, to protect the card corners and to fix fabric and leather in place to make the bellows air- tight. - The very type of corner used can influence the movement of the bellows. Instrument makers can choose an open, wide, short or long corner in relation to the shape of the shell. All the corners are at a 90° angle but come in a variety of different formats. (see diagram n° 3) fig. 1 fig. 2 fig. 3 diagram n° 3 For an identical number of folds in the bellows, the corner in Fig. 1 will extend more but with less vigour. 3) Leather An essential link for the compression of air between the four sections of the bellows. The airtightness of the leather depends on:BELLOWS - how it is assembled - the porosity of the leather: micro porosity due to the leather being too thin or of poor quality is dif ficult to locate on the instrument, unlike air leaks due to glue coming unstuck or a hole, which are easy to pinpoint. Instrument makers should use lea- ther which is supple, thin and airtight to make a good bellows. -if the leather is too thick, this will affect the dimen- sion of the bellows. Just a millimeter excess on each fold can build up to 15 to 18mm excess for the whole bellows; - the leather should be glued to the card on the hair side of the skin. {see diagram n°4) A) Fabric This is a purely aesthetic element which the manu- facturer can vary at will. (see diagram n° 5 Fabric must be stuck into place with a glue that will not damage and will not form air bubbles. Fabric joins are hidden by the bellows tape: diagram n°5 NS ar diagram n°4BELLOWS consolidation finished aspect diagram n° 6 5) Bellows tape. Essential for protecting the fabric. The instrument rubs against the musician's leg whi- le being played, this can damage the bellows, the most vulnerable section of the bellows being its underside. Bellows tape may be given a woven or checked aspect or can even be plastic coated with different colours to enable decoration of the bellows. It is also be used to cover the corners of the card and thus strengthen them against knocks. - bellows tape should be applied with white glue (Bostick) which will remain supple after drying, - some new instruments can have suppleness pro- blems simply due to this, - bellows tape comes in varying widths. Repairers can therefore always cover any old glue marks. Upon assembly, the strips must be cut as straight and true as possible. Glue should be applied with a spatula and held in place with a pin on a woo- den base. 6) The bellows frame Frames are made out of wood which should be as hard and light as possible. There is one for the treble section and one for the bass section and the- se are not interchangeable. To make a frame, we use 4 pieces of wood, the four corners are consoli- dated by 4 wooden wedges. (see diagram n° 6) The frame is cut into shape using a spindle moul- der (carpentry tool). There frames which go inside (fig. 1) the shell and others outside the shell (fig. 2), this depends on the 8BELLOWS bellows compression joint around the two shells. Each manufacturer must decide upon the ideal posi- tion. (see diagram n° 7) | _—— Shell 7 ~~ Joint —__. Pin ~~ Glue rim fia. diagram n° 7 7) Pin reinforcements These are metal or plastic coated parts which are fixed onto the bellows frames to guide the pin or screw and to stop them from widening the orifice during successive dismantling and reas- sembly procedures. 8) Pins or screws These fix the bellows frame to the instrument's bass and treble shells, penetrating through both ele- ments. -when driving into the frame it is important to mark the point precisely beforehand, without the joints so that the pins or screws press tightly into the fra- me from the first contact.BELLOWS Assembly order diagram N° 8 9) Gasket This is an essential element for controlling air flow within the bellows. lt can be in leather, mousse, gum, gum arabic and is equally availble in adhesive stic- ker format. lts position may vary from instrument to instrument. It is either stuck onto the fondo or onto a bellows frame which has been designed to accept it. (see diagram n° 7) lt will be severely tested while the instrument is being played. 10) Glues A wide range of glues are used for the different parts: - white glue - solvent free liquid Bostick - liquid Neoprene etc... - 4 sections of folded card cut with an angle of less than 45° to allow for the leather diamonds when closing the bellows. These sections are assembled using cloth strips cut to the dimensions of the futu- re accordion. (see diagram N° 8) - sticking of pre-cut leather diamonds so that they correctly fold into each corner. Stick to the exterior of the bellows. (see diagram n° 4) 10BELLOWS - positioning of the chosen fabric over the card, joints will be on the top of the folds and later hid- den by protective strips. (see diagram n° 9). - assemble the corners onto the bellows. This is a delicate operation frequently carried out by repair specialists. Plane down the corner to ensure a per fect fit and polish them before positioning the deco- rative fabric. (see diagram n° 10). - when the choice of colour and design has been made, the protective strips are stuck on with glue by spatula to avoid any excess. (see diagram n°1 1) - to avoid any glue spilling onto the leather, protect the corners by inserting a very thin piece of paper. (see diagram n° 12 ) - a handy tip for ensuring perfect gluing of the bel- lows frame: insert a thin strip of honeycomb card around the first fold. When the frames are squa- red, clamp the whole unit together and add a small amount of glue onto the interior where the bellows joins the frame to ensure optimal air tightness. (see diagram n° 7 - Fig. 1). aw diagram n° 9 diagram n° 11 diagram n° 12BELLOWS Problems Most problems are related to airtightness. -a sliff, new bellows or the noise such stiffness might cause do not mean that the instrument is malfunc- tioning inside (glue over-spill from the adhesion of bellows tape). - always take care when using the bellows so as not to make it wear prematurely, never compress the bellows while lifting the bass section, this will systematically push the folds against your left thigh (repair is possible once but not twice in the same place). - check the wear on the bellows tape due to the rubbing of the straps, shirt buttons, belt, etc... chan- ge them where necessary because they play a very important role. - do not keep your instrument in a damp place. - newer bellows often present problems of micro porosity in the leather (there isn’t much one can do about this other than contact the retailer or manu- facturer).BELLOWS ~” S Ist Case : Card folded in This frequently occurs on the corners or along the side towards the chest. - this generally causes air leakage which can be located by placing your lips close to the bellows while maintaining constant pressure. - Repair: (see diagram n° 13) . Identify the damaged corner. . Take a V-shaped piece of folded card. . Open the bellows. . Trim around the leak area with a cutter. . Cut the card to size and insert into the corner (compare with an undamaged corner). . Glue into place with white glue. . Prepare a section of honeycombed card for inser- tion into the middle of the V-shaped card, use this to push the card into place, it should stop any glue spilling over onto the leather. . Clamp the pieces of card together. . Remove the used pieces of card, Dented bellows diagram n° 13 piece of card — honey combed card la _ [| 13BELLOWS Bellows corner * anchetta: Italian name to describe this thin metal blade used in accordian repair workshops — "2nd case: Card corner split or unstuck Split: corner too old Unstuck: bellows tape worn Repair: . Identify the corner to be changed. - Gently remove the bellows tape . Remove the corner by sliding a thin blade or anchetta* under the fabric. If possible, push the sides apart without damaging the card (if not, see card repair} . Remove any excess glue from the card . Take a wide, strong pair of pliers to clamp down the corners of the card before inserting the new corner. . Use a screwdriver to separate the sides of the corer and score the interior to allow the glue to take hold. . Abundantly spread the glue inside with a spa- tula or small brush . Position the corner onto the edge of the card, keeping the whole very tight and avoiding tearing. . Use a wooden block and hammer to align the bellows corners without damaging them. . Use a flat, wide pair of pliers to clamp together the corner. (see diagram n°59) . Check that all the corners are well aligned. . Coat the 2 small protection strips with glue for application onto the outer part of the corner. . Clean up any glue spills. . Clamp the drying parts together. 14BELLOWS od 5 3rd case: Porous leathers Old instruments frequently develop little holes in the leather. Repair: . Dismantle the bellows and place a strong light source inside to see where the holes are. . Use a felt pen to mark the location of the holes on the inside. . Take a very thin piece of leather and cut out a patch sized section. . Stick on the patch using a supple glue (e.g. Neoprene). . Close the bellows and use the light again to check that the operation is successful. ~ \\ 4th case: Gasket leak Half of all air leak problems are due to the joints on the instrument. One indicator for locating an air leak on a white joint is to see where it is dirtiest. Some selfadhesive gaskets slip from the frame due to the pressure of the bellows. The joint must be positioned easily without forcing or pulling so that it will not retract ata later point in time. Repair: To change a gasket: . Remove the old gasket 15 Air leaksBELLOWS - Clean the area where it is positioned. . Apply the new gasket, ensuring that it is not too thick. For gaskets which are on the outside of the fra- me: make sure that it fits the width of the old joint to avoid premature wear. “T sth Case: cirleak onthe frome Check that the pins are properly in place and of sufficient length. For example, the front of the bass section is wider and therefore requires longer pins. Or, the leak is due to there being too much play in the screws or pins. Repair: . This is a delicate operation. Reinforce the frame by screwing on a metal plate or gluing on a strip of wood. ~“ Bellows _\ 6th Case: Fabric worn by friction fabric worn Repair: To change the bellows tape: . Take a thin blade, place it between the corner and the strip, lift and separate delicately. 16BELLOWS . Remove any remaining glue or cloth fibres from the bellows. . Take advantage of this moment to shine up the metal corners. Here one should see straight lines from the cor- ners - if not, use a sewing gauge* and a hard point to trace the lines - which will determine the length of the strips. . When sticking the tape on keep it taught and stretched, use a 10 or 15mm wide, 20mm long spatula and apply the glue, removing any excess. . Place the strip onto the marker line, make sure it is properly aligned and apply firm pressure. . Cut straight and true using the second marker line as a guide. . Press together with your fingers to make the glue stick. 17 * Sewing gauge : graduated strip of metal for measuring.REED BLOCKS chapter II THE REED BLOCKS ARE THE MUSICAL BASE FOR THE REEDSREED BLOCKS REED BLOCKS ARE THE MUSCIAL BASE FOR THE REEDS * Different types of wood: depending on the required musical fixation. * Glue: for the assembly of the parts. * Clamp: mechanical tool for assembly. * Machine tool for carpentry. 3 parts are used to make a reed block: ¢ The base * The body The head or ‘hat’ There is no standard model, reed blocks are made differently by accordion makers depen- ding on the type of music they require (see fol- lowing chapter: wax or rivets) What does a reed block do 2 It is a fixation - connection - base for reed plates and provides the sound development for each lamella {jaw harp principle). The reed block therefore amplifies the reso- nance and vibration of the reeds which are attached to it. It is always made of a hard wood base (e.g. beech, oak etc...). 21 Presentation of the different materials used for making reed blocksREED BLOCKS Other parts can be made from lighter woods if the reeds are waxed (e.g. elder, pine, etc...). Making = They are above all made in relation to the teed blocks — dimension of reeds to be used. Low and high notes require different volumes of air (see 14.3). fig. 14.1 fig. 14.3 diagram n°14 22REED BLOCKS The height of the block is determined by mea- suring the reed chassis less 1.5mm. (see 14.1) To find the slope of the reed block one should align all the chassis from a same side and draw an imaginary line to define the height. Measure the width of the chassis and allow for the thickness of the struts to find a regular distance for the future mechanism, this will make it easier to make further elements. You now know the height, width, slope and gap distance. Care should be taken with the angle of the reed block against the sounding board or ‘fondo’. (see diagram n°15) For the lower notes section it is advisable to allow for a 15 or 16mm space at the top of the reed block (from one block to another} to ensure that the reeds do not touch. (see A in diagram n°15} diagram n°15 23 reed block angleREED BLOCKS This type of juxtaposition of reed blocks can be seen in a 4 voice instrument with a flat bass board. (1 piccolo voice 2' - 2 flutes 8’8 - 1 bassoon 16’) Making the reed block : Use dry wood. Smooth the wood (a.b}(e.d)(g.f) and plane down to the correct angle (see dia- grams n°15 and n°14, 14.1 and 14.3). Cut the reed block to its maximum dimensions (b.c) (see diagram 14.1) Use a block of wood that is slightly too big to allow for the cutting of the reed block 'hat'. (see diagram 14.4) Countersink the reed block slots to the different dimensions and depths allowing for a sufficient area for setting the reeds. (see diagram 14.3) The reed block body is finished. Making the reed block base : Use a hard wood, cut it to size (c.d) (i.j) and (e-f)(i.) with a minimum width of 10cm. Countersink the base of the wood e.g. 10mm (k.l) allowing for the struts. Take a piece of plywood (g.h} and stick it bet- ween the two sections. (diagram 14.2) Saw the feet of the reed block to the required size. Stick the three sections (hat, body and base) together and the reed block is finished. 24REED BLOCKS 7 Ist Case : Reed block slide jammed Reed block base out of shape This is a frequent problem with old instru- ments where a reed block slide was inserted inside the base to open or close the air flow. diagram 1°16 The slide would eventually jam because the wood warped and changed shape. Repair: . Remove the slide, buff it down and adapt it to its location. Ifthe base is damaged it will have to be renewed. _ '\ 2nd case : Air-tightness of the reed block base: This is frequently due to the rotundity of the reed block base against the sounding board or ‘fondo’. (see diagram n°17) Problems Coupler stuck Double note is played SaaS Take a steel measure and check the surface. If light passes through, plane the reed block down. 25 diagram n°17REED BLOCKS A tush of air can be heard — 3rd Case : Air leak between the slots There may be a hole in the slots. Add wax or stick a small piece of paper into the slot. (see diagram 15 and 14 fig. 14.2) Another, rarer, cause of such problems is woodworm. “ Ath Case : Loosened reed block Reed block poorly attached or loosened. The part which holds the blocks in place has been displaced This can be the cause of other more serious problems if the loose reed block knocks against the interior of the accordion and damages the bellows. Repair: . Reset the reed blocks on the sounding board. Tighten the screw on the bass section taking care to remove the fixation of the treble section to allow this to lift up by about 1.5mm and then tighten the treble section. (this will ensure perfect compression onto the sounding board.) Another possibility is that the reed block has become detached from the base: . Dismantle the reed block body and glue abun- dantly, reposition the block and clamp together. 26REED BLOCKS ~ 5th Case : Displacement of reed blocks In the resonance chamber this will lead to a sound of rushing air on certain registers. This is because there are two sets of paddles, one on the resonance chambers, the other outside. There may be a loosening within the casing. . Either the reed blocks are held in place by screws which have become loosened or the support fixation is broken. Make a new fixation. . Also, there may have been a violent knock and the weight of the 3 reed blocks has separated the fixation screw from the interior support. Fill in the holes and insert a support. 27PLATES — REEDS LEATHERS chapter III THE INSTRUMENT’S VOCAL ELEMENTSPLATES - REEDS - LEATHERS THE INSTRUMENT’S VOCAL ELEMENTS * Reed plate: base for the reeds and leather. * Lamella: elements creating vibration. © Rivet: for fixing the reeds onto the chassis. © Glue: for fixation of the leather and other materials. * Leather and Ventile*; valves enabling lamel- la compression. * Nails - wax - screws: materials used for fixation onto the chassis. Reinforcement: strengthens the leather. 1) The reed plate is a very important element for the sound quality of the reeds. (see diagram n°18 and photo n°6 on page 36} There are various types of plates: Aluminium - duralumin (dural) - brass. Antimoine - dural (avional) - bronze Each of these metals has a different weight, cost and sound quality. Harder metals provide sound vibration (e.g. bells are made out of bronze and not alumi- nium). For the accordion, bronze or brass would be too heavy so most manufacturers tend to use lighter metals such as duralumin or the slightly harder avional. Presentation “ventile : synthetic leather Their rolesPLATES - REEDS - LEATHERS * lamella : term used by instrument makers The type of reed plate depends on the lamel- la which are to be used. The height, width, thickness and depth depend on the lamella* to be used. The gap (area where the reed vibrates) is important for the air compression of the reed. The closer it fits the reed, the less air is nee- ded to make the reed sound. The plates may be 6 or 7mm thick for the bass reeds and 2mm thick for the treble reeds. fixation of the reed Above diagram n°18 2) The rivet is the part which fixes the reed onto the plate. There are a number of fixation methods for the reeds, either using one rivet or two of dit. ferent sizes for the bass notes. (see photo 7 page 36) - Metal screw crossing through the lamella to fix it ono the plate. - Iron rivet which clamps the reed into place. 321 - Bellows and bellows frames 2 - Bellows tape 3 - Bellows card ~ 4 - Bellows corners and skins1 -Right hand reed block for wax assembly 2 - Right hand reed block for rivet assembly ' 3 - Bass reed block — Bass chord reed block 5 - Bass chord reed block {high notes) 6 - Accordina reed block 7 - Cork1 - General presentation 2 - Reed plates 3 - Wax, pins, cork 4 - Factory reeds 5 - Hand made reeds 6 - Reed plate 7 - Reeds and skinsPLATES - REEDS - LEATHERS The diameter of the rivet is approximately equal to that of the hole at the base of the reed, thus enabling a snug fixation of the reed. It must be longer than the sum of the thickness of the plate and the reed so that it can be splayed onto the reed once inserted. (see the different types of rivet, diagram n°19) v idl diagram n°19 3) The lamella or reeds may be different depending on the type of steel chosen. Production of steel : iron that is melted in an oven with 3 electrodes at 1200° in order to obtain fusion, the molten metal is then poured into a converter and injected with oxygen to make steel. The hardness of the steel is deter- mined by the volume of oxygen and other additives introduced at this point, from a soft steel to ultra-hard stainless steel. Softer steels rust in contact with moisture whe- reas stainless steel, the hardest, does not. As previously mentioned, the lamella give the instrument its musical amplitude through their quality and precision. Manufacturers can the- refore offer a range of musical performance standards : 37PLATES - REEDS - LEATHERS . standard aluminium . standard dural . standard dural avional . selected reeds . hand made We shall now look at the steps for producing the different types of reeds. photo n°20 At the outset we have a band of metal (steel or stainless steel) which is about 15cm wide, 2 to 3 metres long and Imm thick. This is cut by machine into the required reed lengths. Accordion makers have defined a scale num- bering each reed. For example, n°15 is a C (treble clef / C4 keyboard) and C (treble clef) on the 3rd octave will be number 27 (C5 key- board), all the notes are calibrated on the flute register. The scale starts at -9 and runs to 64. Reeds can be shaped differently depending on each manufacturer's preferences. (see diagram n°21) 38PLATES - REEDS - LEATHERS diagram n°21 Each steel strip is thinned out from the base to the tip. It carries a number corresponding to its note and the required tuning range. E.g. D29 Pitch 440Hz. The reed is the cut by machine tool. (see photo n°22} photo n°22 The reeds and plates are then assembled by a machine. For selected reeds, the assembly and settings are carried out by hand, using a hammer. The technique is completely different for hand made reeds : 39PLATES - REEDS - LEATHERS These are cut to the required dimensions, double reeds only (see photo n°20). They are cut along the grain of the steel and not across the grain, leading to a higher degree of was- tage. The steel strip which is 1cm wide, 10m long and Imm thick is polished down by machine at the two extremities. Each extremi- ty is then placed into a punch cutter to be cut into the required shape. The two lamella are then separated by hand to be fixed onto the plate. The lamella are then hand filed to the precise dimension required. Such reeds can be identified by the blueness of the steel at the base of the reed. Examples of different shaped reeds. (see diagram n°21) These two, seemingly identical, reeds will pro- duce different sounds. Number 1 presents a slightly trapezoidal form which has more metal than number 2 and will produce a higher note Examples of different sized reeds. (see diagram n°23) For the same note : diagram n°23 Reed n°1 has a heavier weight at the tip, reed n°2 is longer. The latter will have greater 40PLATES - REEDS - LEATHERS amplitude and sound quality but n°1 will be more widely used due to the place it occupies within the accordion. To enable the vibration of the reed, as little air as possible must pass between it and the reed plate. In some structures, one cannot even slide cigarette paper between the reed and the plate. If the settings are precise, the initial notes will offer excellent pianissimo Equally important here is the perfect fixation with the rivet at the base of the reed onto the plate. Another key point is the thickness of the reed base, if this is too thick it will stop the full vibration of the reeds in the higher notes. A) The glues used to fix the leathers have no affect on the sound. The only qualities requi- red of the glue used to fix the leather or valves are that it is fast drying and long lasting so that it does not affect the leather. Today glues such as Neoprene Sader gel fit the bill nicely. Some professionals use a lacquer gum com- plemented with industrial alcohol. 5) The skins : 75 to 80% of the sensitivity of your musical elements depends on the choice of leather used. The leather is glued onto the opposite side of the reed. It serves as a valve by making the other reed vibrate. (see diagram n°24) diagram n°24 a4PLATES - REEDS - LEATHERS diagram n°25 When one opens the bellows, air enters the accordion form the outside and enters the reed blocks where the reeds are attached. This makes the interior reed vibrate and the exterior leather will be pushed away from the reed plate thus liberating a maximum volume of sound. When closing the bellows, air will be pushed against the external reed and the internal lea- ther will be pushed away from the plate. Therefore the interior reed can no longer vibrate and make a sound because of the valve effect (see diagram n°24 which shows the reed and on the left hand side, the inter- ior leather. The leathers play an essential role in the reed). Synthetic valves or Ventiles play the same role as leathers except that they are synthetic and present fewer problems due to ageing. The choice of leather is based on choosing whole skins of varying thickness for each group of reeds. These are then cut into the required dimensions, respecting the natural grain, suppleness and stretch of the leather. A ‘ot of experience is needed to be able to choose the right leather. (see diagram n° 25) Has it been well tanned 2 Is it supple 2 Is it hard 2 42PLATES - REEDS - LEATHERS Is it thick enough 2 Is it rare @ It's up to you to decide |!! 6) Wax is used to attach the reeds to the blocks. No matter what type of base (hard wood, soft wood) the essential thing here is to ensure that the fixation is air tight. The wax is about 90% beeswax and 10% rosin type resin. Application of the wax: Before assembly check that - the reed block is in excellent condition - each plate is perfectly adjusted in each cor- responding reed block. Clear the bottom left area if the base of the reed overlaps the wood because this will des- tabilise the plate. Check that the interior leather is not too long {turn the reed plate over and cut away any excess with a pair of scissors if necessary). Enlarge the interior of the reed block slot to ensure that the leather will not stick inside the slot, in any case a cavity that is too small can be made larger and one that is too big can be filled in using litle wooden wedges stuck to the top of the slot. Do not raise the plate with mousse or similar, this will dampen the vibration quality and increase the airflow. 43PLATES - REEDS - LEATHERS When all these points have been checked through, apply the leather while firmly hol- ding the plate against the bellows. Here are 3 application methods: - with a spatula from a recipient spreading over the areas around the plate. - same technique as above but using a spatu- la with a small reservoir and spout. - the third method, less efficient and which may affect the quality of the wax rendering it brittle, is using a low powered soldering iron. (Used frequently for repairing single reeds which have been extracted with a screwdriver). Advantage of using wax : © With wax one can compensate for any imperfections in the reed block, ensure perfect air tightness and it is fast to use with practise. Disadvantage of using wax : * It is often difficult to remove waxed reeds. Overflow or droplets during applicaiton should be avoided. * Do not leave your instrument in the sun or in your car, the wax may melt or become britt- le and cause sound quality problems. "Be careful, wax is like custard, if it is too hot it burns....! we recommend heating it on an appliance with a variable resistor. 44PLATES - REEDS - LEATHERS 7) Screws or nails : use good nails (not cob- blers' nails which tend to split wood). There are specially designed notched nails avai- lable. Screws and nails need a semi-hard wood reed block and in most cases an air- tight joint in leather or cork is used between the reed plate and the wood of the reed blocks. This joint must not be soft, otherwise vibrations from the reeds will not be transmit ted to the block. Do not forget that the reed block is the reed's resonance chamber. Advantage of nailed or screwed assembly : * Reed vibrations are transmitted better thanks to solid fixation onto the reed block. *Special notched nails stop the plates from moving out of place or being loosened. * The reeds can be easily and cleanly removed. * There are no problems related to heat or ageing * Can be tightened before tuning allowing the work to last longer. * No risk of spillage. Disadvantages of nailed or screwed assembly : * Needs a sharp and precise hammer stroke. * Takes longer to assemble because an insu- lating layer of leather or cork has to be pla- ced on the blocks to correct the dilation of the wood. * A reed plate may be deformed by a screw that is overtightened which may cause the reeds to rub against their slots.PLATES - REEDS - LEATHERS Restoration of the complete reed block section. * Reinforcements are stuck onto the leathers to give them qualities that they do not have, i.e. vigour and above all to stop them losing their firmness. In the event where the reinforcement is not well adapted, the leather will not retract pro- perly and the lamella will lose a lot of its sound volume because of the lack of opening. There are different types of reinforcement, they can be metal, plastic or leather as we see most frequently in the bandonion bass. tis necessary to fully restore the musical section if more than 50% of the interior and exterior leathers are damaged or in poor condition. The example chosen is based on a waxed assembly. 1. Dismantle all the reed blocks in the instrument. 2. Take a large screwdriver and insert this into the holes at the base of the block in order to remove the plate without damaging the interior reeds. 3. Place the plate onto a sorting block in the same way as it was on the reed block. The exte- rior side is marked by the manufacturer (a slight line in the upper right corner of the chassis). 46PLATES - REEDS - LEATHERS 4. Clean each of the plates individually with a metal scraper so that no wax is left. 5. Remove any used leathers and scrape off any remaining glue. 6. Shine up the plates with steel wool or sand paper (400 grade) to remove any rust from the reeds, taking care to place the anchetta under the reed while rubbing it. 7. Use fine sand paper to clean the interior of the reed. 8. Note the sections that do not have leathers. 9. Repeat the above for each reed plate. 10. Before sticking the leathers or ventiles back on, treat the reeds with a cloth soaked in Vaseline oil. 11. Protect the metallic part of your plate close to where the leathers are glued becau- se the glue must not adhere te the metal. 12. Use sufficiently long leathers for sticking to the interior side of the plate (interior of the reed block). 13. Cut away the angle of the base of the lea- ther so that it is not lifted too much by the base of the reed. 47PLATES - REEDS - LEATHERS 14. Cut off any excess leather to the same length as for the neighbouring reed {for chro- matic models). 15. Use a chisel to remove as much wax as possible. 16. Use sandpaper to smooth away any sur- plus wax on the reed block. 17. Repair the reed block if necessary. 18. Melt the wax in a pan. 19. When the wax is ready, take one reed block and a plate which you hold firmly against the block. 20. Apply the wax using a spatula or spoon. 21. When all the plates have been set, apply the wax to the top and base of the plates in one go. 22. When sticking the external leathers, ensure that they match the reeds. 23. Repeat the operation for each reed block. 48PLATES - REEDS - LEATHERS. Each repair is described from the point of Problems view of a single reed or a single note obtai- ned by opening and closing the bellows. We will not include mechanical problems on the instrument for the moment The first thing to do when a reed problem is detected is to determine which button and cou- pler correspond to the reed. Then, determine whether the problem is when opening or clo- sing the bellows. If the problem is on closing the bellows, it concerns the visible reed, however, if it is upon opening the bellows, the interior reed which is hidden by the leather is concerned. The simplest procedure is to open the accor- dion by removing the bellows pins and remo- ving the reed blocks taking care to note their position to ensure correct re-assembly, Press on the relative button having activated the right coupler and observe the hole which opens on the fondo leading to the reed on the corresponding reed block. For example: on opening my bellows, | hear the reed plus a metallic sound. ? Ist case: Reed off-centre Metallic noise The reed has been decentralised to the left or the right of its position and rubs against the interior of the grill. - Repair: . Reposition the reed using an anchetta by inserting it alongside the reed and pushing a9PLATES - REEDS - LEATHERS it gently back into position. Then hammer down the corresponding rivet to fix the reed into position. -“ ‘\ 2nd case: Deformed plate The reed plays normally in piano but when played louder emits a metallic sound. It is well positioned in its casing but rubs against the interior of the plate. This is a frequent problem which arises if the fixation has been carried out with nails that are too big and do not allow enough space between ecch plate. Or, the metal may have dilated or warped. In this case, the reeds rub against it in their casings. This type of problem is more frequent in the bandoneon or Russian models because all the reeds are on a single plate. 3rd_ case: Hole too narrow The reed plays well but when played loud emits a metallic harmony. Very often this is a problem of reed design where the base does not fit into its hole and thus cannot vibrate over its entire surface. - Repair: . File down the rivet, remove the reed and file down the reed to fit the dimensions of the hole. 50PLATES - REEDS - LEATHERS. ~“ \ Ath case: Reed touching another part A noise is heard when pushing the bellows very hard. This is probably an external bass reed which is touching a piece of the frame or bellows or bellows card or a pin (see touching reeds - diagram n°1 5). It may also be a Piccolo reed touching the inside of its hole when the instrument is played fortissimo. - Repair: . The reed has to be repaired. Measure its position with a steel rule and assemble accordingly. ~ ‘5th case: Reed plate fixation A metallic noise may equally come from a poorly set reed plate which has loosened or from wax which has aged. The part has to be fixed in properly with slight ly wider nails. For the wax, clean around the chassis and renew. — \ 6th case: Musical parasites Metallic parasite Metallic parasites are the consequence of steel reinforcements stuck to the leather. When the reed is being played, a first leather lifts up and the other is compressed. The vibra- tion of the first leather may make its reinforce- ment move. This noise will be all the more audible if the leather is dry, hard or damaged. 51PLATES - REEDS - LEATHERS. —. diagram n°26 - Repair: . Change the leather and examine the part (see diagram n°26). As observed on older instruments, the reed makes two sounds when played piano on opening and closing the bellows. This will be confirmed in the lower ocatves. = 7th case: Noise from the reed block unit The reed plays but lacks sound volume, then you hear a loud sucking or slapping sound which triggers a second note, louder this time. This is simply the leather on the second reed which is forced against the chassis giving greater musical compression to the reed being played. - Repair: . Change the leather. (see diagram n°26) Tip: if the leather noise occurs when opening the bellows, the interior leather should be changed and the exterior leather, the one which is visible when opening the instrument, if the noise occurs when closing the bellows. This is called the 'singing leather’ effect due to the slightly convex shape of the leather which enables the reed to continue vibrating rather than dampening it. This is often due to damp and occasionally, simply by leaving the accordion in a dry place, the leathers will straighten out and go 52PLATES - REEDS - LEATHERS back to their original shape. It is however pre- ferable to change the leathers. OOelr—~—rr correct convex diagram n°27 =“ ‘8th case: The sound lacks amplitude My reed The reed plays as if it has been muted slightly. has changed pitch If we look at the base of the reed, we can see that the leather hinders its movement. - Repair: . Remove the reed and the leathers. Then, with a brush, dilute the glue with a dissolvent. Check that the reed is working properly and then re-assemble the leathers. oth case: My instrument is increasingly off pitch This is due to a reed which has been bent almost to breaking point. The pitch will be increasingly lower. If you look carefully at your reed, you will see a line close to the rivet which indicates the point at which the reed will break. Such a reed cannot be tuned, it has to be changed. Statistically, the interior reeds break much more frequently due to the higher pressure applied by the musician who applies more force in opening the bellows than closing them. 53PLATES - REEDS - LEATHERS. The reed isn’t playing I can hear a rush of air instead of music If you push your bellow in both directions, you will hear that one reed isn't playing : a ‘\ 10th case: Reed jammed in its hole The reed is near to breaking point and has got stuck in its hole. (see diagram n°28). diagram n°28 7” ‘\ 11th case : Reed blocked by a leather A leather (interior) has become stuck in a slot, either due to wax spillage or by a splinter of wood or due to the leather being too wide. Repair: The chassis has to be dismantled to enable the leather to be freed. “T 12th case: Reed broken The reed is broken. Find the missing bit of meta! so that it cannot damage your bellows leather, especially bass note reeds. 54PLATES - REEDS - LEATHERS. -_ » 13th case: Leather not in place A less frequent occurrence but not exceptional in tropical climates is that the medium or bass reeds do not sound easily or at all. Leather is a natural material and reacts to temperature changes, it may stick to the chassis thus bloc- king the reed and stopping vibration. - Repair: . Dismantle the full chassis if the leather is in the interior or delicately remove the leather if it is on the exterior. . Clean the chassis with a cloth dipped in alcohol. Brush the underside of the leather and puff it up slightly. . Stick the leather back into its initial place. t 14th case: Note muted Free reed instruments play with air. Air contains impurities such as dust, confetti, clothing fibres, animal hairs, etc... and these may accumulate on the tip of your reed and block it. (see dia- gram n°24). To remove these deposits, simply slide the anchetta along the tip of the reed and make it vibrate. However, to be absolutely sure that the instrument is free of impurities it is advi- sable to dismantle the instrument, bellows, plate, register and the bass mechanism and the reed blocks and then, with a small air compressor and a brush, remove any remaining dust. This takes at least 1 hour if done meticulously.PLATES - REEDS - LEATHERS 1 hear air before the note = \ 15th case: Reed not set correctly The tip of the reed is curved into its casing. Reset your reed so that the passing air causes it to vibrate. 7 16th case: Reed not set correctly This can happen when the instrument has not been tuned properly. If you hear air and then a note when playing pianissimo, the tip of your reed is too far from the chassis. Given that reeds are of varying lengths, each needs air to vibrate. See below (diagram n°29) for the different reed settings. 4 2 3 a ee =, x a a — = —- a x g | to. uw wy ag diagram n°29 - Repair: . Reset the reed by pushing from above with a screwdriver to close the airflow or by lifting it a little to open the airflow. The table below shows the different settings, however, each type of sound and size of reed requires a more or less individual setting for optimal use. The example below shows four octaves, num- bered 1 to 4 from low to high notes. (the num- bers 1 to 12 refer to the reed diagram n°29). 56PLATES - REEDS - LEATHERS 1 OCAVE | 2 OCTAVE | 3 OCTAVE | 4 OCIAVE Nel | PERFECT | NORMAL POOR POOR N°2 | BORDERLINE} PERFECT GOOD | TOO MUCH AIR Ne3 POOR POOR POOR POOR Ne4 POOR POOR POOR POOR NPS POOR POOR POOR POOR NP6 POOR POOR POOR POOR N°7 | BORDERLINE |TOO MUCH AIR | POOR POOR Nes G00D G00D PERFECT | TOO MUCH AIR NP9 | BORDERLINE} — GOOD PERFECT | TOO MUCH AIR N°10 | POOR POOR POOR POOR wl POOR NORMAL G00D PERFECT Ne12 | POOR POOR POOR POOR Changing a reed for all types of plates: - File down the rivet to remove the reed. - Place a new semi-hard metal rivet in the plate. - Take a small sheet of stainless steel comparable in size to your reed. - Cut out a hole in the sheet which is the same size as your old reed. - Position your plate in the hole, hold it firmly and trace the contours of its casing. - Fix the reed horizontally in a vice to enable filing of any excess metal. - Place it on the plate and check the space on either side of the reed. - Check the pitch by placing it in a vice. - Finally, gently file the tip of your reed, place the section with the hole in onto the rivet and caulk the rivet down with a hammer. - Make any last minute adjustments and tune the reed 57TREBLE PLATE BASS PLATE - SLIDES chapter IV BETWEEN THE MECHANICAL AND MUSCIAL SECTIONSTREBLE PLATE - BASS PLATE - SLIDES BETWEEN THE MECHANICAL AND MUSICAL SECTIONS © Wood: plywood, chosen for its rigidity. Presentation Dural and aluminium: light, thin and easy to _of the different work metals allowing for mechanical preci- elements and sion throughout. materials used * Brass: a self-lubricating material used for making axles and bolts. © Plate: mechanical element enabling the pro- tection of the sliding parts and serving as a base for the reed blocks. * Celluloid, Bakelite, plastics: used to make individual parts. * Screws: for the fixation of different ele- ments. * Leather or synthetic materials: stuck on to the plate or the sounding board * Slide: allows the opening or closing of the voices. * Sounding board or fondo: provides a base for the reed blocks and valves and insulates the musical section from the mechanical sec- tion. * Slide inverters: allow for reverse movement. 1) Wood Their roles This is often used for sound boards in the bass sections. It offers a warmer, mellower sound and is easy to work. 61TREBLE PLATE - BASS PLATE - SLIDES “ionised : transformation of neutral atoms into ions. In diatonic instruments, 80% of the sound boards are made out of wood. There are even wooden slides. 2) Metal Dural, like aluminium, offers mechanical preci- sion especially for the sound board. It provides a light, rigid material with reduced thickness which reduces the path taken by the airflow feeding the reeds, At present the entire sound board and its slides are made out of this metal which offers reliability and longevity, especially if it has been ionised*. Brass is used to make slides but nowa- days is generally replaced by duraluminum or similar which are lighter. Brass is still used for its hardness and friction action which does not require grease or oil being added to the slides. 3) Plastics These have started to appear in bass and treble plates and sound boards, unfortunately. The result is far from promising. The result is gene- rally heavier and always thicker than metal or wood. The only real interest for this material is for the slides, where its lightness is useful. 4) Screws These fix the plates to the sounding board, thus isolating the slides. 5) Leather Ensures air tightness between the reed blocks and the side plate. 62TREBLE PLATE - BASS PLATE - SLIDES 6) Celluloid This plastic material was once used to make slides. It is no longer used because does not wear well with time, it retracts and causes pro- blems with slide precision. 7| Bakelite This is a light material, exceptional for making slides but one which requires a great deal of finesse in manufacturing and setting. 8) Sounding board This is an essential element between the reed blocks and the mechanical elements. In the bass notes we use 3 or 5 ply wood for its firm- ness and rigidity - essential qualities given that the spring based mechanism exerts up to a 4kg force on the sound board. It is reinfor- ced by a metal plate which carries the slides. Today, chromatic instruments rarely have wooden treble sound boards (right hand). The bandoneon or concertina (small instru- ments) do have wooden sound boards howe- ver given that they have no couplers. 9) Slide plate This reinforces the sound board in the bass section and serves as a support for the slides. It is made in such a way as to enable efficient movement of the slides. 10) The slides. These are a fundamental element of the coupler 63