This is the latest model Settimio Soprani Artist VI accordion with Bass valves decoupling shift positioned close to the air release valve (see the pictures below). This shift doubles the bass/chords sound combinations and allows for tuba bass effect, recording a bass line using only the lowest two octaves of Bass and Tenor reeds, or changing the accents in the bass section. As a bonus, the air efficiency improves. Such a shift is standard on the top of the line converter-bass accordions but very rare on a Stradella-only accordions. This is the reason some people refer to this shift as "bayan bass" shift. For a detailed technical explanation reed my comments in the pictures section.

Maxim's Group owns the Sonola and Settimio Scandalli brands. This created a unique opportunity to revive these two legendary brands combining some of their best features. The Settimio Soprani Artist VI I am presenting here is a custom built accordion. It combines features from the 1960's original Settimio Soprani and Sonola SS20 models. You have Sonola's proprietary "resovox" oversized treble resonator combined with Settimio Soprani's tone chamber architecture (with a slight modification - see pictures area for more design details). The tone is mellow yet powerful and rich in overtones.

• New accordion, Made in Italy
  
• Excellent hand-made reeds with special treatment for enhanced response and corrosion resistance
  
• 4 sets of treble reeds - LMMH
• Mild swing / Balkan tuning
• Double Tone Chamber (LM)
• Resovox chamber (the extended space under the key bed - see the pictures below)
• 41 keys, 19.25 " keyboard, ivory finished key tops with smooth edges, perfect for any type of music
  
• 11 treble switches - Bassoon (L), Bandoneon (LM1), Accordion (LMM), Harmonium (LM1H), Organ (LH), Musette (MMH), Violin (MM), Oboe (M1H), Sopran (M2), Clarinet (M1), and Piccolo (H)
• Palm Master switch (LMMH) - 12 different treble sounds
• 120 ivory finished bass buttons
• 11 bass switches
• Bass valves decoupling shift - doubles the bass/chords aound combinatoins and allows for tuba-bass effect. This feature is common on the high end converter-bass concert accordions but is very rare on accordions with the classic Stradella system (bass and preset chords).
• Very ergonomic and efficient accordion
• Excellent compression
  
• Bellows protector
• Comfortably padded shoulder and bass straps
• 27.5 lb
  
• The best quality accessories available today - bellows protector, straps, and case with wheels and a second handle
• Offered with 2 years warranty serviced at the Accordion Gallery in Flemington, NJ

The picture below shows the bass valves decoupling shift located next to the air valve button. This shift doubles the bass/chords sound combinations and allows for tuba bass effect, recording a bass line using only the lowest two octaves of Bass and Tenor reeds, or changing the accents in the bass section. As a bonus, the air efficiency improves.

The Stradella bass mechanics is based on single notes sounding in the bass and counter-bass rows and preset chords on the remaining 4 rows of chord buttons. Consider a classic bass reed configuration with 5 sets of reeds: Bass (B), Tenor (T), Contralto (C), Alto (A), and Soprano (S). There are 2 sets of valves for the 5 sets of bass reeds - a "bass valve" for the Bass and Tenor reeds and a "chord valve" for the Contralto, Alto, and Soprano reeds. Pressing a chord button opens only the chord valves supplying air flow to the Contralto, Alto, and Soprano reeds. This explains why you never hear the lowest two octaves reeds playing the the chords. Pressing a bass or counter-bass button opens the bass valve allowing air flow to these two lowest octave Bass and Tenor reeds. By design the bass valve passively lifts the chord valve. This way, in the bass and counter-bass buttons you hear all reeds enables by the bass switches. If you wanted to have only the Bass reeds sound in the bass row then you would have no sound at all when pressing a chord button. This is the reason some accordions (Bell, Sano, Dallape ) have 1 or 2 switches allowing for this deep reeds sound in the first two bass rows and no chord sounds. The "silent chords" challenge is resolved by mechanically decoupling the bass valve and the chords valve. Then you can have a tuba bass effect, use only the low reeds to record a bass line, or simply change the accents in your music while still have chords sounding the way they normally do.

For all accordion friends who desire a peek inside, the photographs below will give them additional information.
Call with any questions about the choice of woods and other materials used throughout.

The "resovox" chamber is the extended space under the keyboard

The tone chamber has similar geometry as the 1960s models. However, instead of polished aluminum it was made of Brass, similar to some of the Borsini accordions. This material gives a little more brightness while the "resovox chamber" enhances the lower harmonic. The effect is a very nice blend throughout the tonal range.

The design of the reed blocks is a combination of the 1960's Settimio Soprani Artist VI and Guerrini Superior 2.

Let's look at the bass side...

These are some very precise double riveted reeds!

Call 973-219-9259 with any questions or to schedule your visit to the Accordion Gallery and play this accordion.