Editors Note:

Through this Celebrity Interview, readers will gain insight into the start of the KORG FISA SUPREMA project – how the concept evolved from initial discussions and ideas into a cutting-edge technological instrument, designed with intuitive features and advanced options to accommodate accordionists of all skill levels. This Celebrity Interview also includes links to previously published accordion history of Fati Fehmiju and Luigi Bruti. https://www.fatifehmiju.com/ and https://accordions.com/interviews/bruti/bruti2.htm

Link to Chapter 1, Link to Chapter 3

CHAPTER 2: The Making of Fisa SUPREMA

Q.  Describe step by step the design and production milestones that your team/s created?

Luigi Bruti: Designing a digital accordion is a highly multidisciplinary task, so we began by working in parallel across multiple areas, tackling the most important challenges from the start – mechanically, in hardware, software, and in the sound and musical data.

1. Initial Concept and Goals
   Our first major challenge was to define a clear target: creating an instrument that would be more compact and significantly lighter than any digital accordion previously developed. This vision guided every technical decision that followed.
2. Hardware Development
   On the hardware side, we faced several key challenges:
   – Introducing lithium-ion battery technology to allow more than 8 hours of continuous play.
   – Designing an internal speaker system that could accurately reproduce low frequencies, despite having limited internal air volume due to the compact size.
3. Software Engineering
   From a software perspective, the biggest challenge was managing high polyphony. The instrument had to be able to reproduce up to 9 reed layers for the right hand and 5 for the left hand – simultaneously – along with orchestral sounds and percussion. Achieving this level of performance without compromising responsiveness or realism required extensive optimization.
4. Sound Design and Sampling
   On  the sound side, we faced an ambitious goal: recording over 45 types of accordions from around the world, and integrating them into a sound library of more than 3.2 GB. This allowed us to offer a truly global and versatile instrument with authentic tonal character.
5. Bellows Innovation – The Core Challenge
   The most significant and complex challenge in the entire development process – requiring mechanical, hardware, and software solutions – was the redesign of the bellows system. Unlike any previous digital accordion, the bellows on the FISA SUPREMA were completely re-engineered from the ground up. Thanks to this innovation, the playing experience is now remarkably close to that of a true acoustic accordion. The feel, dynamics, and responsiveness of the bellows are so authentic that it’s genuinely difficult to tell the difference between acoustic and digital. This breakthrough in bellows management is currently patent pending in Japan and internationally, with Andrea Celani, Luigi Bruti, and Fati Fehmiju listed as the inventors.
6. Project Management and Milestones
   We structured the development around quarterly milestones, with regular progress reviews. Each stage was shared with Korg Japan for feedback and approval, ensuring alignment and mutual trust throughout the entire process.

Fati Fehmiju: Naturally, having more powerful specs and better components brings advantages to any product. But when it comes to developing a truly better digital accordion, the question becomes: what is the real key? That was our very first topic of discussion.

For me, the priorities were clear – bellows response, expression, playability, sound quality, and an intuitive, easy-to-play structure. And above all, solving the common issues found in other digital accordions currently on the market.

At the same time, we fully recognize that a digital accordion cannot – and should not – be directly compared to an acoustic one. They are based on different principles, each with its own strengths and limitations. One of my main goals was to create a digital accordion that makes life easier for professional acoustic accordionists: giving them the opportunity to rehearse quietly at night, to perform comfortably with a band on stage, or to have a reliable alternative instrument when needed. I wanted to offer a solution that delivers similar bellows performance, expressivity, and playability. A tool that could not only support their craft but also expand their repertoire and bring the accordion into the digital world – together with today’s brilliant musicians.

On the Italian side, Luigi had a strong vision from the beginning: he wanted to explore the accordion’s potential in the realm of film scoring and soundtrack performance. Marco Di Paolo, a remarkable organist and the mind behind Dexibell organs, contributed a key idea: “Why not bring features from the organ world into the accordion?” That sparked a new wave of creative thinking.

Throughout development, we shared every step with trust, mutual respect, and complete freedom. Each idea was considered, each voice was heard.

I truly believe that FISA SUPREMA will become the “little brother” in the global accordion family – standing proudly alongside the great brands, enriching knowledge of the instrument, and supporting the ongoing culture of the accordion in its own unique way.

Q.  Did the development team change greatly as you moved from initial designs to pre-production development then product trials?

Luigi Bruti: No, the research and development team remained the same from start to finish. During the pre-production and production phases, additional roles were naturally added — including people involved in manufacturing, quality control, and also administrative staff responsible for managing material procurement.

Fati Fehmiju: No, the FISA Team has remained the same since the very beginning. On the Japanese side, once we moved into the production phase, many other departments naturally became involved in the process.

Q.  How was the KORG FISA SUPREMA model name selected?

Luigi Bruti: Fati and I proposed a selection of potential names that had an Italian flavor and character. In the end, President Seiki approved the name FISA SUPREMA.

Fati Fehmiju: It was decided in a very diplomatic and collaborative way. One member of the administration from Japan, one from the Italian side, along with Luigi, Marco Di Paolo, and myself, held several meetings. We explored many possibilities, conducted research, and created a list of potential names.

Eventually, the series name FISA came from my side, and SUPREMA as the model name was contributed by Luigi. We presented the final name – FISA Suprema – to Korg President Seiki, and it received his approval.

Q.  In Italy on May 30^th 2024, there was an important meeting? What was the purpose of this early “Introduction Event” for major Korg distributors and potential demonstrators.

Luigi Bruti: On May 30th, 2024, an important meeting was held in Italy as an early “Introduction Event” for the Korg FISA SUPREMA. At that time, most Korg distributors were not yet aware of the product.

The main purpose of the event was to recruit potential demonstrators, present the instrument in detail, and explain the underlying technology. It was also designed to prepare distributors to launch a series of initiatives specifically tailored to the accordion market – a world that requires a completely different promotional approach compared to other musical instruments.

Fati Fehmiju: The idea to organize this event came from Luigi. Thanks to his extensive experience, he mentioned it to me right at the beginning of the development process. He said, “Fati, you know we’ll need to find demonstrators. But in my experience, simply sending a digital instrument to musicians without a proper explanation often leads to confusion and problems.”

I immediately understood what he meant and fully agreed on the importance of a proper presentation. So, very early on – during our first year of development – we began planning this meeting. Together with Luigi, we carefully prepared the presentation: thinking about what kind of space would be most comfortable and inspiring for musicians, where the event should be held, and how the first encounter with the instrument should feel.

A digital accordion can seem quite complex at first glance, so we discussed how to guide players into the world of FISA in a natural, intuitive way. We also considered how distributors would connect with musicians in their respective regions. At the same time, we needed to maintain the confidentiality of the project. We had many question marks – but we worked through them, always aiming for the best possible experience.

Of course, it wasn’t possible to bring all distributors together in one place. So in parallel, we prepared detailed videos and documentation for those who couldn’t attend the event due to scheduling conflicts -ensuring they, too, could discover and understand the instrument properly.

Q.  The Security of the project seemed most effective with the Korg Fisa Suprema being a complete surprise to all the music industry?  How did you achieve that?

Luigi Bruti: This was actually one of the most difficult aspects of the entire project. In particular, when it came to sourcing accessories like the bellows, straps, and other components, we had to work with artisans from the Castelfidardo area – a region renowned for acoustic accordion craftsmanship, but also well-known for how challenging it can be to keep anything secret.

Maintaining confidentiality required great care in how we communicated and managed relationships, especially given the close-knit nature of that community. It was a real achievement that the project remained a complete surprise to the industry until its official unveiling.

Fati Fehmiju: To protect the NDA, we operated almost like secret agents. There’s actually a funny story about that. In January 2024, I brought the FISA to the NAMM Show to introduce it – together with Luigi – to a select group of distributors during a special, private meeting held ahead of the main event in Italy scheduled for May 2024.

It’s hard to describe just how challenging it was to get the accordion to Los Angeles. Simply boarding the plane with a prototype that included a battery pack turned into quite the adventure at the airport!

Q:  What part of the development of this instrument is the most memorable / outstanding for you?

Luigi Bruti: Without a doubt, the bellows are the most memorable and outstanding part of the development for me. Their expressiveness and natural feel are, today, the most valuable feature of this digital instrument.

In the past, the bellows were often the most criticized aspect of digital accordions – especially by teachers and conservatory instructors. Now, with FISA SUPREMA, that former weakness has become one of its greatest strengths.

Fati Fehmiju: Absolutely – the bellows. From the very beginning of the project, this has been our team’s top priority. The playing feel, the ability to naturally create crescendos and decrescendos, and the sense of reed-like resonance – all of these elements are essential to achieving a natural transition from an acoustic accordion.

We deeply respect and love the acoustic accordion, which is why we were so committed to getting this right.

But beyond the technical side, it’s really the team that makes this project special. The friendship, trust, passion, and joy shared within the FISA team have fueled us with endless energy. And through this journey, I’ve come to truly understand something beautiful: the accordion has a unique ability to make people feel like children again – full of happiness and wonder.

It’s hard to put into words, but that’s the magic of the accordion – it brings people together and fills the room with joy.

Q. What is your favorite feature of the Korg Fisa Suprema and why?

Luigi Bruti: Aside from the bellows – which I consider the most important performance feature – two other aspects truly stand out for me. First, the HyperReal Sound Cluster and HyperReal Drum Cluster systems. These allow the player to be accompanied by what feels like a real band or orchestra, but without using any automatic accompaniment. Simply by playing bass and chord buttons, the system intelligently transforms your input into a layered arrangement of instruments tailored to different musical genres. It’s expressive, dynamic, and incredibly musical.

The second feature is the Scene management system – 600 memory slots capable of storing thousands of sound configurations. What makes it truly special is the seamless sound transition: for example, you can hold a note with a violin sound, switch to the next Scene, and the current sound and its effects will continue naturally until released. Meanwhile, the next note will already respond with the new sound and settings. It’s an advanced, smooth system that opens up a world of possibilities for live performance.

This is exactly what I personally use when performing film soundtrack pieces – a musical genre that was never really possible to interpret authentically on accordion before. Now, thanks to the quality of the sounds and this seamless functionality, the result is absolutely breathtaking.

Fati Fehmiju: For me, the essence of this instrument lies in its accordion part. The most exciting elements are the physical modeling technology, the expressive bellows response, the authentic accordion sounds, and the Easy Mode. I was responsible for orchestrating this part of the product. Together with the team, we developed a proprietary algorithm—now patent pending—that enables musicians to simulate reed resonance and natural attack/decay characteristics, all controlled through bellows movement, just like on an acoustic accordion. At KORG, the accordion sounds were meticulously sampled from scratch to capture the instrument’s soul and subtle character. By combining this detailed sampling work with advanced physical modeling, the result is a deeply expressive digital accordion that responds and feels like the real thing.

This layered approach brings more than just accurate sound—it delivers the tactile feedback that accordionists expect. While the ability to play other instruments like violin or clarinet is a nice bonus, the heart of the experience must feel like a true accordion. Without that, the additional features lose their meaning. That’s why so much attention was placed on faithfully recreating the sonic and physical experience of an acoustic instrument. FISA offers professionals a compelling digital solution for late-night practice and performance, without sacrificing authenticity or control.

To make the instrument more approachable for beginners and acoustic players unfamiliar with digital gear, FISA includes an Easy Mode. Many traditional players can feel overwhelmed by rows of knobs and settings. Easy Mode removes that complexity by providing familiar register buttons for treble and bass, just like on an acoustic accordion. Switching between different accordion models is straightforward, and no programming or deep menu operation is required. It’s designed to feel natural from the first touch.

On another note, when I first met Luigi, I introduced myself as a composer (specializing in contemporary and electroacoustic music), as well as an accordion and violin player, and a sound engineer at Korg. He told me he was also an accordionist, recording engineer, and composer – but focused on film music. He even worked with Ennio Morricone in his early days.

I had the opportunity to visit Luigi’s studio – MR Studio – and to listen to his arrangements. Thanks to FISA Suprema’s Scene structure, Luigi now uses the instrument like a full film music orchestra. It’s very difficult to explain a musical instrument without hearing it. So, if you have the chance, I highly recommend checking out Luigi’s soundtrack performances. That part of the project is truly opening new doors for the future of the accordion world.

Q.  Do you remember any “unusual”or “humorous” moments during development that you can share with us?

Luigi Bruti: Yes! At the DEXIBELL labs, there’s a big theater used for demonstrations of various other products from PROEL, our parent company. Since our development area is partially visible, there were several times when we literally had to run and cover up the accordions as people were walking through on their way to the theater – all in an effort to maintain total secrecy about the project. It definitely made for some tense but also funny moments!

Fati Fehmiju: During the sampling session, we had to disassemble the reeds. One of the reed blocks was dusty, and Luigi jokingly told the staff, “Don’t blow the dust – just swallow it.” Without meaning to, one of the team members actually inhaled the dust and swallowed it completely. He started coughing – but also burst out laughing. Moments like that really capture the spirit of our team – we’re constantly joking with each other, even during the most technical parts of the process.

On a more memorable note, I’ll never forget one particular time in Italy. I was working closely with Luigi, and unfortunately, I caught a bad cold – with a fever close to 40 degrees. Both of our voices were literally an octave lower than usual! Still, with flushed faces and raspy voices, we managed to shoot ten videos explaining the product. We powered through with propolis, vitamins, and medicine – always adding a touch of humor to keep our spirits up.

Link to Chapter 1, Link to Chapter 3