melodeon.net - reviews of melodeons H-O

Hohner Pokerwork (Vienna model 2915)
2 rows, 2 voices. New list price £399

Ok, I suppose no one's done this because most of it would be taken for granted by people who've been playing a while, but hey, never refuse an easy shot, it may not stick its head up again!

The HOHNER POKERWORK - by an absolute beginner for absolute beginners (also a tutor which is a must have and will more than likely be thrown in as part of the deal). Bought mine at Holmefirth festival this year (May 9th) from the Music Room festival shop. It's a second hand model which the guy said must be about 9 or 10 years old as it's a German one (new ones are made in China I think). It's been well played as the gold paint has rubbed away near the bass buttons but apart from that there's very little else to give it's age away, in fact the bellows could be new! I don't really have much to compare it to, apart from brief encounters with top class gear at the Music Room in Cleckheaton, but a couple of things spring to mind in that if your shy it's a difficult thing to make your mistakes on quietly and the keys clatter like yer granny's teeth and seem to travel a long way, a thing you can apparently rectify by taking the thing apart and shoving some felt or cloth down the back of them, if any of you old lags out there could tell us how easy a job that is it would be appreciated as I haven't had the neck to do it yet! But if you are thinking of taking up this wonderful instrument, (I've not had so much musical fun and tomfoolery since my 1st electric guitar) then
this is the thing for you! (Yes, I can play Smoke on the Water on it!)

Go to festivals and look at stands there, certainly people like the Music Room, they know what they're talking about and gear changes hands there, bargains are to be had and the Hohner Pokerwork is well worth having.... A practical classic!

MARTYN HIRST, MIRFIELD, ENGLAND 11/07/2004

Hohner One-row 4-stop (Vienna model 1140)
1 rows, 4 voices. New list price £389

Bought this new a couple of weeks ago at Sidmouth so I am just getting the hang of it (I learnt to play on a two row DG).

It is a lovely looking instrument that has a great full sound with all the stops open, the steel reeds giving a bright, loud tone. The 10 treble keys are nicely spaced and have a reasonable action. The overall build quality seems very good and with the stops and air valve closed the bellows are very air tight.

When I first started using it the instrument was very noisy with lots of clacking from the moving parts, especially the spoon bases which took me quite a while to get used to. However, now I am more used to the instrument I am able to play it with a lot less extraneous noise.

A word of warning on the spoon bases. I found that the seals attached to the spoon bases have a tendency to stick slightly to the body of the instrument. Usually this only happens for the first few times the bases are used, however when I was playing a display model at Sidmouth the seal stuck to the body rather than the spoon base meaning it had to be replaced. Although there is some stickyness on the one I bought this has not happened.

Overall it is a lovely sounding, good looking and well built instrument
for the price but as seems to be the way with Hohner it only comes in a cardboard box so a proper case or gig bag will be needed. So far I am very happy with it.

* The problem with the spoon basses sticking on the more modern Chinese made instruments has been noticed before - however the instruments displayed this year at the UK festivals were subject to very humid conditions which made the problem much worse. John Spiers.

DARREN BOTTOMS, SHEFFIELD, ENGLAND 17/08/2004

Mélodie Quebecois 1-row 4 stop
1 row, 4 stops, 2 basses
List Price (Canada 2002) CAN$2300+

Several years ago the bug hit me, and I just had to get a one-row accordion made in Québec. I researched various builders and in Spring 2002 decided to go with Mélodie, since I had toured the workshop in Montmagny the year before and felt confident about ordering a box from them. I telephoned the workshop and spoke with Monsieur Sylvain Vézina, the builder. We decided that in order to specify all the options, I should visit the workshop again. During my second visit to the workshop, Sylvain showed me all aspects of the production (with boxes at various stages) and introduced me to Raynald Ouellet (pronounced “wuh-let”), Sylvain’s partner in Accordéons Mélodie and an absolutely spectacular melodeon player. As we went through the workshop, Sylvain showed me the different options for my accordion and I was able to choose what I wanted – color, inlays, tuning, and bellows. Finally I got to try a finished accordion. To make a long story short, this accordion shipped to a buyer in the U.S. who gave up playing it and sold it – to me! Two years later, I am now the custodian of 2 Mélodies.

Mélodie #1

The Mélodie that I bought used is a standard setup: it features four working stops and four sets of Binci a mano reeds. The stain is “natural” with a polyurethane finish over a wonderful ‘fiddleback’ maple. It has all of the features that make Mélodies wonderful melodeons: a very quick keyboard; an ergonomic design without sharp edges, making it very comfortable to play rested on the leg; very responsive reeds (I believe they are long scale, making them very quick to respond); and handmade bellows that are supple yet airtight. Yes, you heard that right, the Mélodie’s bellows aren’t Italian imports, they are made right there by the Vézinas, so you can specify the cloth and even provide your own if you so desire. In terms of appearance, Mélodies feature really wonderful woodworking that makes them a joy to behold, and the finish is hard-wearing and quite sweat-resistant! Finally, all Mélodies feature an internal hook mechanism for holding the bellows closed, instead of external hardware. While I had read about problems with a similar mechanism in another brand of accordion, I have never had any trouble with this mechanism and using it has become second nature for me. I have played this instrument daily for a year and it hasn’t needed any maintenance.

Mélodie #2

This is the one that I ordered: it has the same features as the first, except that it has a darker stain (“chamois”) and double bellows. “Double bellows” doesn’t only mean that it has a decorative center divider in the bellows, but also that the overall frame structure of the accordion is different. Whereas Mélodie #1 has frames held together by end bolts, like most melodeons, Mélodie #2 has interlocking frames connected by pins, as usually seen on 2 row melodeons. The outer, decorative part of the bellows frame is made of padouk, matching the corners of the accordion. This different frame system changes the dimensions of the instrument and is, in my opinion, a positive development for one-row accordions. (The Castagnari Max also features interlocking frames.)
For Mélodie #2, Sylvain also chose different wood figure, and internally there are some differences in reedblock construction that I will not go into here. The keyboard is quite snappy and I’m enjoying it immensely.

Playability

These are amazing little accordions – they feel just right the moment you pick one up. The shape of the bass grip, the angle of the keyboard, the height of the buttons, the quickness and smoothness of the action, the speed with which the pallets close, and the degree of dynamic control you feel – all this adds up to one killer melodeon. The four-stop models aren’t the loudest one-row boxes, however; players seeking a louder box (more typical of older boxes made in Quebec in the 70s and 80s) should specify non-working stops or the two voice model. This is a high-performance accordion, and I can’t imagine how it could be improved. Sylvain told me about one player who owns seven of them, in different keys. SEVEN!?!?

Options and ordering
Since this information is not available elsewhere on the internet, and even Mélodie’s brochure does not mention all the possibilities, I’ll mention some of the options here:

1. Bellows: Choice of bellows fabric (you can even send your own); standard or double bellows.

2. Reeds: although most Quebecers request wet-tuned boxes, you have your choice here. You can also choose Bincis or Salpas.

3. Wood: fiddleback (érable ondulé) or birdseye maple (érable moucheté); various colors; various inlays.

4. Optional thumb groove and shoulder strap brackets.

5. Stops: working, non-working, or none.

6. Voices: 2 (MM), 3 (LMM, MMH, LMH), or 4. The 2 and 3 voice boxes are built in a slightly smaller scale, and with completely different reedblock construction.

7. Buttons: Raynald Ouellet’s personal box has eleven buttons (adding high notes A/E), useful for playing in A on a D box, I believe. Therefore I imagine that Sylvain can build an eleven button keyboard for you. Vive la difference!

8. Case: a hard case with “Mélodie” stenciled on the side.

Prices (as of 2 years ago) range from CAN$1800 (2 voice model) to CAN$2300 (4 voice) plus additional charges for various options.

Contact info:
Sylvain Vézina and Raynald Ouellet
Accordéons Mélodie, 477 boul. Taché Est, Montmagny, QC, G5V 1E4, Canada.
Tel. and fax: (418) 248-9503.

ANDY HOMAN, NEW YORK, USA 14/08/2004

Hyde Accordions - Tristan Glover Model
3 rows (33 button); 2 voices; 12 bass; 2 bass stops to remove low fundamental reed and third in the chord. 3.6 kg
Price on application (all models are custom built)

Peter Hyde builds custom-made button accordions from his workshop situated in the Adelaide Hills, Australia. I am lucky enough to play most of the models that Peter builds (I act as a kind of test pilot!) and most of my comments hold true for all his instruments. Peter’s philosophy is to design instruments that the player wants but to keep the size and weight to an absolute minimum – his full size instruments are the same dimensions as the Hohner Erica and weigh in at just over three and a half kilos. My first box was built as one of a pair, the other going to Tristan Glover of the Chipolatas. It is a D/G with 12 bass buttons and an inside row of accidentals that I designed myself, I can send you the arrangement if anyone’s interested. I now have another box in C/F with an identical layout and both instruments have custom-made microphone pick up’s designed and fitted by Peter.

Reliability: The two Hyde boxes I own have never let me down through many gigs, sessions and travel both Interstate and overseas. Peter considers the purchase of one of his instruments to be a lifetime guarantee and carries out any minor adjustments or accidental damage repairs free of charge. All components are of highest quality from Italy and Peter constantly strives to maintain his highest levels of craftsmanship and build quality. My D/G is five years old and still looks as good today as the day I received it. I did have a sticky button on the outside row of the C/F shortly after I bought it but that was fixed in the time it took to have a cuppa at Peter’s workshop and has given no more trouble.

Playability: The joy of top class, custom-made instruments is their tonal quality, speed of response and control of volume over a range of bellows pressure. The Tristan Glover has a stepped keyboard that I find lends itself to playing very fast when required and the overall response is superb, even with almost no bellows movement. The Hyde sound is very bright and the whole box feels “alive” when played. In fact, I can feel the box playing through my hands, arms and chest which is very useful in noisy environments or in situations where the sound on stage is very poor. I’ve never had this experience from any other make of accordion. The box is very versatile for a range playing styles from accompanying ballads to playing upbeat dance tunes. I wouldn’t recommend it as a Morris instrument though, as it lacks the gutsy howls of a Hohner (mine has a dry tuning but they can be tuned for a more gutsy sound) and I’d hate to see my Hyde being used as a bar stool and having beer tipped into it! Some people consider my instruments to be a bit quiet compared to other boxes (my wife considers this a plus point!), but it is fine for sessions and when sheer volume is required, I plug into a PA system.

Peter only builds a few dozen instruments per year so there is a waiting list. However, once you’re on the books, he keeps his customers informed of progress on all the boxes as well as ideas for new designs, timbers and keyboard layouts. The options are essentially limitless, so you’ll have lots of time for thoughts and discussion concerning your new instrument. And if you’re lucky enough to take delivery of the first model, you get to name it! You can visit Peter at the Hyde Accordions Website

PAUL GOODING, ADELAIDE, AUSTRALIA 18/10/04

Hyde Accordions - Texas Rose
2 rows (23 buttons); 2 voices; 12 bass 3/4 size
Price on application (all models are custom built)

I began playing melodeons in 1998, and my main boxes were Castagnari Tommys. A friend of mine had been to Australia and had met Stormy Hyde, and would send me pictures of boxes Stormy had made. I emailed Stormy when the "wanting a new box" bug hit, and he sent a couple of CDs to me - one with music and the other with information on his boxes. The year before that I had emailed a Dutch builder, who also had a CD with music made with musicians playing his boxes, to see if I might want that brand, and he had emailed back that I would have to purchase the CD by wiring the money. Well that was out of the question! After all, I wanted to be a customer - and he wanted my money before I even made that choice. How ridiculous to pay for his advertisement! .....Stormy was happy to send me the music and the information without asking me to wire money to him. Right off - that's a plus.

I decided to have a two row 23 button box made in the keys of Bb/Eb, as that is my favorite tuning to listen to, and since mostly I would be the one hearing my tunes, I thought it should be in the tuning I loved the most. The choices in having a handbuilt box made are limitless. Choosing the wood to begin with - and then deciding how many treble buttons - how many bass buttons - the spacing of the buttons - the size of the buttons - whether or not to have abalone put on the buttons or to have the regular mushroom type buttons - what style to have the box made - whether to have the treble side be straight across or angled, whether to have a step on the treble side - and how much of a step.....what kind of tuning - wet, dry, or somewhere in between - how many reeds - and then to
choose a logo for the box....what would represent me. I ended out
choosing a rose that a friend in France, Roger Poitevin, came up with.....and that made the box even more special as he knew me well and thought a rose would represent me (the only thing I could come up with on my own was a picture of a diatonic melodeon, and how stupid that would have been to put on a melodeon - but it is my passion)......so then it all began.

I received regular emails and pictures of my box as it was being made - Stormy kept me up to date on everything as it happened, and we had ongoing conversations about what I wanted done to my box. In the meantime, to make it more personal, I sent him pictures of me and I recorded myself on minidisc and sent it to him so he could see what kind of music I play and actually hear me, so that when he was building my box it could be more of a personal experience for him too.

After he was tuning my box, he had people come and play it - and recorded it and put it onto a CD and sent it to me - along with a CD of him playing each note so I could hear it and decide if it was exactly as I wanted it to be.

The hardest part was the waiting for it to come - the anticipation was
bittersweet. I got home from work one day with a note in my mailbox saying it was at the post office - which was closed at that time. I could hardly wait until the morning to get my box - and I worried about anything happening to it in transit. I should not have worried - it was in perfect shape - traveling all the way from Australia to Texas.

When I opened up that case and pulled out the box, I was in love......it was so gorgeous. The box was lightweight and the wood was absolutely beautiful. I hooked up the straps - which he had sent ahead of time - and started to play.....oh my god - the sound was unbelieveable....the most beautiful accordion sound I have ever heard. It was almost like he had zapped in a bit of magic to make it sound this way....and the playing action - I hardly had to push the buttons to get the sound - unlike my Tommys.....the action was so light, that I could play trills and ornaments much more quickly and more easily - I wanted to try out every tune I knew on this box. The feel of the box in my hands was a different feel than any other box I've held. The workmanship and craftmanship is superb.....a smooth feel to the box - in the touch and the playing.

I have played many different brands of quality boxes - Cairdins, Saltarelles, Gaillards, Castagnaris.....and my Hyde is better than any of them. On a scale of 1 to 10 - I give it an 11......I have been playing it a couple of years now, and I play it everyday.....when I pull it out of the case and start to play, I'm smiling.

I have ordered another box from Stormy, and he has just started on it - so the process begins again. He is building boxes for me and for my musical partner Pete - C/F boxes - trikitixia style.....I think that sort of says it all - going back for a second one. I think anyone who wants a handmade box - a one of a kind box - not a mass produced box like everyone
else has - should go to Stormy Hyde.

KAY HICKMAN, AUSTIN, TEXAS, USA 24/10/04

Oakwood Model 7
2 rows, 3 voices, 2 bass stops for low bass reed and thirds in the chord. New List Price (UK Nov 04) £1,895

Oakwood Model 7 , Front & Rear views showing the thumb coupler.

Many of you will know that sinking feeling when you play a box on a stall or in a shop and you know that you just have to own it. This happened to me when I was working on The Music Room stall at the Melodeons at Witney workshop weekend. Disastrously, my beloved Model 7 was stolen from my car in Jan 2004 by some morons who obviously didn't know it's value either financially or sentimentally. Thankfully as I used the instrument on stage and Oakwood Instruments agreed to let me buy their prototype model (pictured above) on the insurance money - with a waiting list approaching 2 years I am eternally grateful to them and sorry for anyone waiting for one who I queue jumped!

Reliability: The 2 boxes I have owned have been great. The prototype I am playing now has suffered some broken reeds but that's probably because it has gone from being on a shelf in Leeds for years to full on playing! The bellows seem to last well and I can report no other faults (I had the previous one for 3.5 years).

Playability: It feels very much like playing a Castagnari Tommy, very fast stepped keyboard (some players might like the spring tension a little stronger than factory set) - the mechanics are what you would expect from a quality handmade instrument - very good indeed. But the jewel in the crown of this model is the sound you get: clear and sweet at low bellows pressures but absolutely magnificently loud and bright at high pressures. It is the closest sound to a 1 row 4 stop cajun instrument I have ever heard from a 3 voice instrument. It is the best small three voice I have ever played.

To sum up, if you can wait the 2 years ... it is worth it! Probably best suited to English Country Dance and Morris Styles, but it does a great impression of a cajun box for a 2 row.

JOHN SPIERS, OXFORD, ENGLAND 1/07/2004