Siwa & Figli Super Quattro Extra Model Accordion
Bass Valves Decoupling Shift and Stereo Condenser Microphones

The Super Quattro is the top of the line and most demanded Siwa & Figli concert accordion. The Super Quattro was inspired by some legendary accordions like the 1960's Scandalli Super VI and the 1980's Guerrini President as well as 60 years of combined experience of Ivan Stanojlovic at Siwa & Figli and Guenadiy Lazarov at Accordion Gallery. Selecting a Siwa accordion you partner with a team of musicians, craftsmen, and engineers with  knowledge of the time-tested accordion building practices and access to state of the art technology, a team enriched with experience of restoring more than 1000 accordions and able to combine the best features from all of them, a team with a vast network of accordionists constantly providing their feedback. You become part of a Community.

Many accordionists have joined our Siwa & Figli Community as customers, featured artists, friends. We invite you to try the Super Quattro and experience its tonal quality and character. It will remind you of the finesse and richness of the 1960's Super VI treble sound, enhanced with the 1980's Guerrini President deep and strong bass sound. Yet, the Super Quattro has a character of its own. It has been ergonomically optimized and is about 1.5 lb lighter than the Guerrini with the center of gravity brought closer to the performer's body. The mechanical and acoustic balance is impressive. The overall efficiency is extraordinary. You can enjoy a vast dynamic range and play from very soft to very loud and the instrument will respond instantly to your creative artistic demands. You have to experience the accordion and be aware of how little effort it needs to reward you with its harmonic richness and explosive response.

The Extra version of the Super Quattro model features a bass valve 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.

Here is a summary of the features.
Here is a link to a shared folder with high resolution pictures and a SOUND SAMPLE. Please, listen with headphones to fully appreciate the tonal quality and character of the accordion:

https://1drv.ms/u/s!AsErJouBehnuhiZtjQoyAVR62zOB?e=cIutDg

Call 973-770-6877 with any questions or to schedule your visit to the Accordion Gallery. 



The two photographs below show 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.

Examples:
1. Bass-piano switch (BTC)
(A) Without valve decoupling: Bass = BTC, Chords = C
(B) With valve decoupling: Bass = BT, Chords = C

2. Organ switch (BS)
(A) Without valve decoupling: Bass = BS, Chords = S
(B) With valve decoupling: Bass = B, Chords = S

The bass side features tone chambered reed block from the Bass reeds. This allows for using low-G bass reed
configuration with oversized reeds while keeping instant response and excellent efficiency.


See you at the Accordion Gallery.



Accordion Gallery