Synth-cordian

[Scott Gravenhorst]

I found this info on accordians:
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The size of the instrument is usually denoted by the number of basses. 
These basses are arranged in rows of 6 buttons for each key: 
counter bass, bass, then major chord, minor, seventh, and diminished. 

A 120 bass with 41 treble keys is the full size model, and the bass end 
offers a chromatic scale, and all the chords, arranged in 6 rows of 20. 
An 80 bass has 5 rows of 16 (omitting the diminished row), and a 37 note
keyboard. A 72 bass has a 34 note keyboard, but retains the 6 row bass. 

The most popular size, and ideal for beginners, is the 48 bass, usually 
with 6 rows of 8, allowing accompaniment in the keys of Bb, F, C, G, D, 
& A. The treble keyboard on the 48, 32, and 12 bass models usually has 
26 keys, enough for most tunes, but limiting for a pianist. 
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There are many different configurations, so no "cast in stone" standard.
So at this point, I'm going to feel free to do as I please with the
button arrangement for my electronic instrument.  

I am now quite sure that I can get alot more chords with fewer
buttons assuming I take the approach of using a monosynth VCO to
drive a TOG and then use the buttons (in combinations of 1 or more)
to create various chords.  I think I'd like to have it somehow
programmable, even if by DIP switches.

Interesting stuff on the site included that fact that some accordians
are double reed and of those, some have reeds that are purposely 
not tuned exactly the same (with an obvious audio result).  It 
occurs to me that since I have 2 50240s, I could run each on it's
own VCO where the VCOs are tuned a tad off of each other.  I need
to think about how complex that might get and if there might be
a way to get the same effect without using two TOGs.

-- Scott Gravenhorst : On The Edge, but the Edge of What?
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