Re: [Harp-L] On Tolerances



All material I've read on 'embossing' reedplates has referred to drawing in
the sides of the reed slot.  Its what I do with custom harmonicas, and it
helps improve the response of the reeds, and reduces the amount of breath
required combined with judicious reed adjustment.

But... picture in your mind a reed pushed down into the reedslot so its top
surface is flush with the reedplate.  With that in mind, I have found
reducing the horizontal distance between the tip of the reed and the edge
of the reedslot's tip also changes the response of the reed, and to some
degree tone, but no more than regular embossing does. 
Tip scooping also has an effect on the reed's responsiveness, and to a
lesser extent its tone.   There was a lengthy discussion about this on Harp
On! email group a couple of years ago.
http://www.harpon.org

One way to do this is use something to push the slot edge into the slot,
similar to embossing.  

In Altered States, Pat Missin describes a method of drawing in reedslot
edges using a engraving scribe.  In his case he is referring to the sides
of the slot nearest the heel of the reed which you cannot safely draw using
something like a tuning fork.
Altered States found at http://www.patmissin.com/tunings/tunings.html

But this approach can be applied - with care, and to a limited degree - to
the tip of the slot.  

Another method is to extract the reed, adjust the reed's rivet hole so it
can be seated forward so the tip is nearer the far end of the reedslot, and
reinstall.  I only do this if the reed needs to be replaced, like when
working on an altered tuning.

Of course you'd gap the reed as per normal once this is done.

Cheers,
-- G.
http://harmonica.7p.com





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