Frequently asked questions

Unfortunately I can't give you a single frequency that would hold for every accordion. It depends on the build quality, on how you use the instrument and on where it has lived.

An accordion played regularly is worth checking every year, or every two or three years depending on how demanding you are. An instrument left unplayed for a long time, or stored in poor conditions, generally deserves a check before you take it up again.

My rates are based on an hourly rate of €50.
Everything therefore depends on the instrument, its condition and the extent of the work required.

A routine service generally takes between 2 and 5 hours of work.
A full tuning takes between 4 and 15 hours depending on the number of notes, while a complete restoration can take between 15 and 35 hours, or more depending on the instrument.

The answer really is case by case. Describe your instrument and its condition through the quote form, attaching photos and as much detail as possible. If you are able to open your instrument, send me photos of the inside as well.

I will send you a quote giving you a price range, wider or narrower as the case may be. The final quote is drawn up at the workshop, after we have talked it through in person.

It depends on how far out of tune your accordion is. An examination at the workshop gives me an idea of your instrument's tuning "debt".

The more notes there are to bring back into line, the longer the tuning takes, and so the more it costs. On the basis of a €50 hourly rate, tuning one frame — that is two notes, one on the draw and one on the press — comes to around €2.50 to €3.

For a full tuning of the right hand of a 46-note, two-voice accordion, the rough calculation is therefore: 46 × 2 × 3 = €276 at most.

The best approach is to go through the quote form, so that I can give you a precise idea of what it comes to in your case.

Yes, I can! It is an extremely rewarding stage, because it is where the final voice of the instrument is shaped.

I can talk to you in hertz, in cents or in the usual vibrato names (swing, American, celeste…), but the best approach is probably still to discuss the music you want to play and the styles you want to move towards, drawing on recordings by artists you admire if that helps.

From that conversation, we choose the type of vibrato that suits you best, for a tuning made to measure.

I work on chromatic and diatonic accordions, converter and free-bass accordions, as well as bandoneons, concertinas, Indian harmoniums and other free-reed instruments with bellows. Whatever the make, the period or the range of the instrument.

There are two ways: by appointment at the workshop, or through the form.
To save you the journey and to get a first idea, going through the quote form is the easier route: tell me the make and model, with a few photos if possible, along with a description of the problem and of the repairs or modifications you have in mind. I reply with an initial diagnosis and an estimate. If you decide to go ahead, we draw up a final quote at the workshop once I have examined the accordion.

Yes, by appointment only. This isn't a formality: it lets me give you proper time, open the instrument with you, talk it through, and let you try out accordions if you are looking to buy. Reach me by email, phone or text and we'll arrange a time.

That is possible. Ideally I like to meet you, examine the accordion together so we can talk it over and make the best decisions, and then tell you about the repairs once they are done.

If that really isn't an option, I accept instruments brought by friends or family, or entrusted to reliable carriers (UPS). Get in touch about your particular case and I'll give you some advice to avoid any mishaps.

That's a hard one to answer, it depends. Some old instruments have real historical and musical value, and deserve a full restoration. For others — sadly more common — the cost of the work exceeds the market value of the accordion, and I would rather tell you so than carry out work for its own sake. That is exactly what an appraisal is for: identifying where the instrument comes from, estimating its value and the cost of putting it back in order. Sentimental value counts too: it belongs to you alone, but it is never to be dismissed.

Yes, I keep a selection of second-hand accordions at the workshop. Each listing details the instrument and its condition, and you are welcome to come and try them on site, by appointment.

Yes, I do sometimes buy accordions back. After examining the instrument, I can offer you a price matching its market value, less the estimated cost of any repairs. Consignment is also possible, depending on the instrument and the space available at the workshop.

Play it! An accordion that lives fares better than one that sleeps: it keeps the reeds and leathers moving, and prevents dust from settling and damp from taking hold.

Take care of it, spare it knocks and swings in temperature and humidity. Keep it dry and, if you can, avoid standing on it or leaving it in a car boot in high summer. Wrap it in a small emergency blanket if it has to sit in the sun on stage, and try not to tap your cigarette ash into the folds of the bellows.
Beyond that, an occasional preventive service stops small troubles from turning into major repairs.

Yes, I give chromatic accordion lessons in Uzerche, for children and adults, beginners and advanced players alike. Lessons take place at the workshop, surrounded by the instruments.

I trained at the CNIMA with Jacques Mornet, at Jazz à Tours with Florent Sepchat, and in the traditional music department with the team at the Limoges Conservatoire.

Those very different teaching approaches let me build up a varied set of tools, which I now put into practice in my lessons.

Lessons last an hour, as often as suits you. We work with or without sheet music, on the pieces you want to tackle, or on pieces I can suggest.

Yes, I fit internal and external microphone systems, in particular from the Harmonik brand, for the stage, the studio or the dance hall.

Since electronic systems generally have a shorter life than the instrument itself, I make sure the installation has as little impact as possible, both visually and functionally. Full details are on the sound systems page.

The workshop is in the old town of Uzerche, inside the Hôtel du Sénéchal, a sixteenth-century townhouse. You can park on the street, alongside the building. Uzerche is in the Corrèze, about 30 minutes from Brive and Tulle, 45 minutes from Limoges and 1 hour 15 from Périgueux. The town is served by rail and is a designated stopover village just off the A20 motorway.