WersiClub UK.Focus Ken’s Accordions May 2011 Ken's Accordions By Ken Belton Preset Arrangements The way a preset is constructed is of course down to each individual’s vision and perception of how they feel the final result should sound. This rule certainly applies to my own preset arrangements that I have used with sounds from 'The Best of Accordions'. With this in mind I will set up a few examples of how I arrange the sounds from this package to suit my own preferences, you could try them out for yourselves if you wish. As well as a printed example that you could take to the organ and make the settings yourself, I have a couple of presets that you can load direct onto the organ (providing you have the package activated of course.) that I can send to you on request. I will also try and explain the construction of the presets and the method I use to play them. I have mentioned in a previous article that for most who wish to have an Accordion sound in a preset, that it would probably just be a single sound to compliment the other sounds used in the preset, and yes, I also use the sounds in this way to great effect. However, as this instrument is the 'grass roots' of my playing, and I have a particular interest in the many sounds it can produce, I possibly tend to view the use of the sounds for other applications, mainly, layering the different sounds of the registers onto the organs sound levels to create my own 'Accordion Band's'. Usually, only one preset is used for each. Construction of Presets Firstly, to create my Accordion bands, the sounds are selected from the ‘Accordion Package’ sound list, then, choosing a specific Accordion from the list, the individual sound registers are placed on Upper 1,2.3,& 4 and also Lower 2 & 3. Lower 1 usually I put a string sound for contrast. At this point I should point out that I am a 'style player' and do not use the pedals, so the presets are set up for that purpose. If you try these for yourself I would recommend you use them in this way at first to get the feel of what is happening. Second, to get all the sounds to work how I want them to sound we have to employ the services of the 'Expression Crossfade' feature. I have to admit that the setup I am about to describe is one I use for most of my playing + or - a few adjustments here and there. For those of you that play in the conventional style of playing the organ, i.e volume pedal back, 'no sound'. Volume pedal forward 'full sound' this method can seem a little strange at first as the volume pedal is used mainly for ‘expressing’ the sounds and not as a volume controller. However, there is also a slight gain in volume when the pedal is pressed forward as more sound layers are brought into play. In fact, by using this setup we have sound all the time and the peak overall volume is set by the master volume control on the right hand panel. © WersiClub UK.Focus 1 WersiClub UK.Focus Ken’s Accordions May 2011 Important note. Should you download the presets to load direct onto the organ, as a precaution turn the master volume control to minimum to prevent any loud outburst when you hit the keys or start the style. Once the preset is loaded play some notes on the upper manual with the expression pedal in the 'back' position and the increase the master volume knob to an acceptable level. In the first example I have used the Cavangola 3 voice musette Accordion which is ideal for tunes such as Bridges of Paris, Wonderful Copenhagen etc. The main Accordion from the sound list is loaded onto Upper 1 this has the full range of register tabs which will then appear at the bottom of the screen. Pressing the individual registers gives the full sound range of the 3 voice musette. This Main Accordion can be loaded onto any sound level but not in multiples. Other register sounds can then be loaded to Upper 2,3 & 4 and Lower 2 & 3 as individual sounds minus the register bar, just as you would load any other sound. Playing Technique To achieve full effect the sounds of the Upper manual are panned, Up1 left Up 2 right Up 3 center Upper 4 optional. Lower 1 is used to play the arranger and is split at B2. Set at this position it is usually necessary to have the octave set to +2. The reason I have it set at this point is purely my personal preference, a) it gives maximum use of the Lower 2&3 section of the manual. b) As I also play single keyboards as well I am not used to playing in organ style i.e left hand playing directly under the right hand. This of course could be adjusted to suit your own playing style. The Expression Crossfade then needs to be adjusted for the Upper 1 & 2 sounds and the lower 1,2 & 3 sounds. Upper 1 plays the lead Accordion (panned left) of which you can use any of the registers and has maximum volume when the pedal is in the back position. Upper 2 has a different sound register (panned right) and fades in when the pedal is about half way. The presence of the voice on Upper 1 can still be heard but is a little fainter as the second voice is applied. Pressing the pedal to its fullest extent brings in the voice in Upper 3 which I then add Wersi Chord for the full effect. The effect of the band is of course achieved by varying the expression pedal from playing the single lead instrument in the back position to the full orchestra in the full position of the pedal. The same principal is applied to the sounds of Lower 1,2 & 3 Another adjustment that needs to be made is the Drum and Accompaniment on the advanced page of the ACC on the main screen. This is necessary to maintain the balance of the Drums and Accompaniment volumes when the expression pedal is in the back position. On the next page are some screen shots and templates of the various parameters required for the setup. This basic setup applies to all the Accordion setups, the only changes made are the type of accordion selected and the different sounds a volumes applied to the sound layers. Other Notes & Observations On later versions of the ‘Accordion sound package’ there seems to be a modification to the register bar. As well as the ‘reed symbols’ each register has a number on it. This makes locating the sound of each register much easier to locate from the individual Accordion 'sound list' © WersiClub UK.Focus 2 WersiClub UK.Focus Ken’s Accordions May 2011 It is worth taking note that if you highlight a sound level that dose not have the register bar on it, the register bar then disappears. The way to restore them is to highlight the level the registers are on, in our examples it is Upper 1, you will then see the selected 'Accordion' in the 'sounds' panel at the bottom of the screen. Touch the 'Accordion' in this list and the registers are restored at the bottom of the screen. It is also possibly a good idea to go to the 'Selectors' page and uncheck 'Reset Controllers' as if an octave has been changed, with this box ticked, changing a sound register will reset the octave to default, as it is in effect, loading a new sound from the sound database. Common Settings that are applied to all the Accordion Setups The Lower Split point of B2 is just my personal preference. This can be altered to suit your own playing method. Uncheck Reset Controllers to prevent octave changes resetting to default Set the Expression Pedal settings as per the table on the left. Incase the minus symbol cannot be seen Upper 1 is set at -20 and Lower 2 at -50 The Expression Pedal settings are required to balance the manuals and to allow the different Accordions to sound as single and multiple instruments. The ‘Dynamic Curve’ of 6 is a little softer than the standard setting 4 The Expression Pedal settings on the ‘Advanced ACC’ page are necessary to balance the Drums & Acc. Volumes when the Exp. Pedal is in the back position. Having Wersi chord applied to one of the Exp. Pedal footswitches makes it easier to quickly apply during playing © WersiClub UK.Focus 3 WersiClub UK.Focus Ken’s Accordions May 2011 Individual Accordion Settings - Cavagnola Musette 3 voice Once you have saved the ‘common Settings’ into a spare preset or two it is then only a matter of changing the sound levels to a different type of Accordion and adjusting volumes to suit. Upper 1 has the register bar attached to its manual, any of the registers can be used to vary the sound on this level. It is also the lead solo instrument which sounds with the Exp. Pedal. In the back position. Try using reg. 2 or 3 for tunes such as ‘Bridges of Paris’. Then pres 9 or 10 for ‘Wonderful Copenhagen’ etc. All other sound levels have the fixed voices. With the use of the Exp. Crossfade on Lower 2&3, you can fade the ‘master reg. 6 and the musette reg.2 WersiChord ‘Block’ is used for this setup. Set sound level volumes, Octaves and Panorama as per table on the left. (As the setup is initially for ‘Style play’ the table column for the pedals is not applicable.) The Style is ‘French Waltz’ S720 Tempo 189. With the Drums, Bass & Acc levels set as indicated it may probably be necessary to alter the ‘Song’ setting to suit. © WersiClub UK.Focus 4 WersiClub UK.Focus Ken’s Accordions May 2011 Individual Accordion Settings – Hohner Morino v ‘Scottish Sound’ Hohner Morino V Upper 1 has the register bar attached to its manual, any of the registers can be used to vary the sound on this level. It is also the lead solo instrument which sounds with the Exp. Pedal In the back position. Try using reg. 8 for the true ‘Scottish sound’ All other sound levels have the fixed voices. With the use of the Exp. Crossfade you can fade the ‘master’ sound Reg. and the ‘musette’ on Lower 2&3. WersiChord ‘4 Way Close’ is used for this setup. Set sound level volumes, Octaves and Panorama as per table on the left. (As the setup is initially for ‘Style play’ the table column for the pedals is not applicable.) The Style is ‘Reel’ S729 Tempo 112. With the Drums, Bass & Acc levels set as indicated it may probably be necessary to alter the ‘Song’ setting to suit. © WersiClub UK.Focus 5