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Well, just as long as I don't try to do any "John Popper" licks, I think Reed-Blowing is a very necessary & useful trick, especially when you're having trouble getting some Reeds to sound with the Tuning Bellows. My rule of thumb is : when the customer is there looking, I use the Tuning Bellows exclusively. When they're not there & not looking, I often Blow when needed. It also helps to have a drink of Canada DRY or maybe a DRY Martini (Git- It ?) sitting around to avoid a "moisturous breath" of air on them precious Reeds - Haw 🤠 !

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This is a great lesson

This is a useful channel to give folks a look and some ideas. Big thanks to Peter as I submit some additional thoughts. I have a dozen or so accordions, they all need a little or a lot of work. I've had them apart and, as a mechanical engineer, I'm appalled that there are fortressed reeds and valves of great difficulty to work with. A tech warned me that to remove the wax to flip the reed frame over, the tuning can change when you set new wax. So I gave it a lot of thought. I conclude that the heat can alter the reed rivet slightly, so use minimal heat. Tuning should then NOT change unless you touch glue or wax onto the reeds. So, remove all the wax using an awl or dental pic and later, give great care to use the MINIMUM of glue and the nominal amount of heated wax. The other method of tacks and felt in place of wax is workable but tricky business as well. The notion of always getting the best air-seal is part of the ORIGINAL failure mode that plagues old accordions, I do believe. As we see, the reeds work even when the leathers are goofy. Not a good air seal, we can see. So, the notion of flipping the leather over may have GREAT merit. Some would say, "well, the skin side doesn't seal as well as the suede side..." and so this rule gave the world a few million accordions that would badly curl their leathers after a few years (depending on humidity cycles). Did anyone dare to break the rule, and incur the SLIGHT amount of leakage due to the dimply skin side valving to the reed frame? How much leakage is it after the vibration sets the surface to match? Practically a perfect seal, I bet. Does the leather still take an arch? Yes. But not as much. The skin is shrinking over time, and its tensile/compression qualities give it a permanent springiness which is essential and useful to the task, if only it holds MOST of its original flatness. Can you run the glue halfway along the edges of the reed cavity? Yes, more or less (good guess which choice works best). Can the leather still get slapped by its own reed? Maybe. But this was always true if the frames are not thick enough to give flap-room to the reed. Can the leather still suck over sideways and interfere with the opposite reed passage? No, Not as easily as before! This is good. This means you don't have to taper-trim the leathers so skinny that they loose strength. Many accordions get closed up and the problem of NEW leathers bending sideways to rattle in the other reed channel is NOT understood for what it is - you hear it and you shrug your shoulders... "what else can go wrong now?" I am betting then, that the BEST approach for home workshop repairs IS to use leathers, usually without the booster springs, turn the skin side to the frame, and carefully apply the glue halfway along the edge of the frame without any excess to touch the reed. The required portal for air flow is truly only half the length OR LESS of the channel. The tensile quality of the leather is then acting like the booster spring. Maybe for ten decades (we can hope !). If it doesn't have merit, who has already found out? Why does it fail then, if it does? Because the amount of failure in my original accordions is not a happy reality, it is MASSIVELY unhappy, and I want a very sensible, economical solution available. I am resigned to remove all the reed frames and remove all the leathers, and install either new or old leathers flipped over, with glue halfway on the channels. Maybe someone has the shop space set-up, ready to test this out out this week and can give a report. Thanks.

This could work in the short term, but once the springiness is gone from the leathers they will soon start to fail again. If I am working on a budget and reusing leathers, I will add a plastic ventile to the back of the leather as a booster. Of course, this will slightly effect the tuning, but if the leathers are this bad the accordion will need a tuning anyway.

Excellent videos. Got a good question. My farfisa scandalli Iv was dropped and when i press the piano keys most of them get stuck and some feel sticky. Any videos of a way to repair it?

thank you Peter for sharing you amazing skills and thanks for your time. really appreciated

Thanks Peter - so VERY helpful to see & hear the process. ❤

Thank you for sharing your expertise and knowledge, Peter. I very much appreciate you giving up your time and effort.

Thanks for posting this. What kind of glue do you like to use for the valves?

Than you Peter, very helpful. Not long ago I was watching a Pigini video of a tour of the factory and Pigini technicians were blowing through reeds as a final check.

Good informative video, thanks!

good job you tidied up first!

Excellent video mate . So informative! Of course youre 100% right about the blowing into the reeds.. I blow into mine too. No rust in sight. 😊

Very informative. Thank you much!

Thank you Peter - from a aged but raw beginner who just wants to correct minor matters as/when they occur.

Thanks, I learned a lot from this.....can you do a video of how to tune some reeds? Thanks

No harmonica part?

coo,,,,l never could get in there myself

Peter, man... you are deep in the reeds!

Finally! A use for that proctoscope I got for my birthday...

Bugger, "They're a Weird Mob" is the story by John O'Grady, referencing Nino Culotta's start in Oz. Never knew there was a song to go with it. :-)