Weltmeister Supra -> Weltmeister Supita

[tasogare]

Hi guys,

In the last three years I played an accordion Weltmeister Supra but I am thinking to switch on a Supita model.
These days I tested a Supita II and I was a bit surprised, I encountered a hard keyboard (at least in comparison with my Supra).

Does anybody if there is a special reason to build a hard (for Supita) or soft keyboard (Supra)?

Thank you in advance,
tasogare


Anmerkung von maxito.
Nachdem es Nachfragen bezüglich des Textes gab, erlaube ich mir mal eine sinngemäße Übersetzung der Kernpassage:

In den letzten drei Jahren spielte ich eine Weltmeister Supra, aber ich überlege mir einen Wechsel auf eine Supita.
Unlängst testete ich eine Supita II und war ein wenig erstaunt, denn ich fand eine straffe Tastatur vor (zumindest im Vergleich mit meiner Supra)

Weiß jemand, ob es hierfür einen speziellen Grund gibt, warum man eine straff eingestellte (für Supita) oder eine leichtgängig eingestellte Tastatur (Supra) gibt?

 

[Ippenstein]

Hello tasogare,

what do you mean with "hard keyboard"?

Best regards

Ippenstein

 

[tasogare]

Hello Ippenstein,

Thank you for your interest on this topic!
Sorry for my late answer, but I wasn't notified by (as I expected) that someone responded to my post.

I was trying to explain to myself why I have to play Supita and not Supra, to understand which are the differences between these two accordions.

While I was playing Supita I had a feeling that I have to be more definite when I press the keys. Maybe because the instrument was new, I cannot tell you.
Otherwise, the sound is beautiful, warm... Another thing is that I consider the sound from Supra comparable with that one from Supita. On the other hand I suppose the mechanics is better on Supita.
That's why I asked about the keyboard.

Best regards,
Tasogare

 

[Ippenstein]

Hello Tasogare,

both mechanics at the keyboards (Supita and Supra) are the same. Only the top is at Supra plastic, at Supita nacre.

Best regards

Ippenstein

 

[accordion]

Die Supita Tastenbeläge sind wirklich aus echtem Muschelkalk/Perlmutt? Ist das nicht sehr empfindlich?

 

[maxito]

aus echtem Muschelkalk/Perlmutt?

nein, das natürlich nicht!

Aber den Effekt nennt man halt Perlmutt. Möglicherweise wurde von Ippenstein auch das falsche Wort für die Übersetzung erwischt. Ich weiß nicht, ob nacre im englischen Sprachgebrauch nur echtes Perlmutt meint, oder ob der Begriff dort auch so weitläufig wie im deutschen verwendet wird.

Das ist immer das Problem bei Übersetzugnen - oft ist s mehrdeutig, ohne dass man es merkt!

Aber die Tasten bei den Akkordeons sind nicht aus echtem Perlmutt, sondern aus Kunststoff, der durch die Art, wie die verschiedenen Kunststoffe vermengt sind einen perlmuttähnlichen Effekt darstellt (allerdings ohne die Regenbogeneffekte, wie man es bei richtigem Perlmutt sehen kann)

Gruß, maxito

 

[tasogare]

Hello Ippenstein,

Okay, if the keyboard is the same (I refer to mechanics) the only thing which is really different (Supra - Supita) remains the reeds. As far as I know both are HA1 but for Supita they are from Italy while for Supra they are produced by Harmona. Someone from Klingenthal said that the reeds on Supra are the same used for Cantora. As I said, the sound is comparable, maybe at Supra is a bit darker. I think here is a matter of taste.

Best regards,
Tasogare

 

[Ippenstein]

Hello Tasogare,

well, there are many differences between both accordions:

Supra - Supita

Keyboard: plastic - nacre-effect
Cassotto: Aluminium messingeloxiert - wodden furniture
Reeds: Super Finish (same like Cantora) - italian a-mano reeds
Baßstimmstock: Doppelkammerstimmstock - Umlenkstock (I can´t explain in english)
Baßmechanik: System-mechanic - special mechanic with Cassotto

There are more differences but I don´t know all.

Best regards

Ippenstein

 

[tasogare]

Hi again,

Finally, I've got my new Supita!
The mister of "harder" keyboard (described at the beginning of this topic) is now riddled out: the black keys are a bit higher posted than they are at Supra model. This produced a strange feeling to me when I played it first time.

The sound is beautiful warm but at the moment I could identified two problems.
First unexpected thing (for me) is that the response of the reeds is not so impressive for an accordion having "a mano" reeds. As far as I know this kind of reeds (a mano) is the best one, providing the best response. Or the response of Supita's reeds is worst, at least in comparison with Supra that one I have.
The second thing is that the volume of the sound is a reduced one. In order to play a bit louder I have to push (or to pull) the bellows seriously.

Does anybody know more about these two aspects (bad response and the reduced volume)?
Is that something general for Supita model or is a defect (a technical hitch) and I have to return the accordion to the dealer?

Thank you in advance,
Tasogare

 

[Ippenstein]

Hello Tasogare,

First, you should check the response out with your Dealer. He will know, if there are problems or if it is normal.

There are much differences between both instruments. The reeds in the Supra are very good too and loud. In Supra, the bass-side is opened to get a higher feeling sound, but because it is open, it is louder too. At Supita the bass-side is closed and that gives more bass, but less higher frequency.
At keyboard-side the Supra is more open too, the sound is a bit louder. In Supita it is a little bit more warm.

You see, that at the Supita there is more sound-design, but that brings a little bit less loudness than Supra.

Best regards

Andreas

 

[tasogare]

Hi Andreas,

Thanks a lot for your help! It really counts to have so clear and specific explanations!

Indeed, at Supita the sound is warmer with a small loss of volume.
The good news are that I played the new Supita these days and noticed that its reaction and volume are getting better and better. In the meantime I asked the dealer and I am waiting for their answer. Probably, they have to ask the same thing at Harmona, the producer.

I will see how it goes the next days and I will be back with news.

Thanks again,
Tasogare

 

[maxito]

The good news are that I played the new Supita these days and noticed that its reaction and volume are getting better and better.

Hi Tasogare,

perhaps you should wait some days, before you reclaim the reactions of your supita - possibly it´s only a behavoir of the plastic valves which cover the reeds.

If they are brandnew and used for the first time, they react a little bit more stiff than in normal use and therefore it takes some hours of playing until they are moving free and in their normal way. This can happen with all new accordions and is nothing special of Harmona products. This "warm up" phase can take some weeks - so I think at the moment you should play as much as you can with your supita, to "freee" the reed valves.

In the meantime if you meet your dealer you can tell him of your start up problems and ask for a free check of the tuning within the first half year - At least in Germany that s a nearly normal given extra for free, because most of the accordions loose a little bit of the correct tuning within the first year. And after a correction of the tuning they normally keep the tone for years.

best regards,

maxito

 

[odenwald]

Hi Max, bei den Tastenauflagen der Supita handelt sich um handgemischtes Plexiglas (Acrylglas).

Gruß,
Odenwald

 

[tasogare]

I agree with you, Max. It looks to be the same thing when you by a new car, you have to drive it slowly for a while.
For the moment I just described to the dealer what's going on and wait to see how it goes further. I hope it will be fine.
But the idea to ask for a tuning after few months is a very good one. Thanks for that hint!

All the best,
Tasogare