[Harp-L] Re: [Harp-L Digest] Nails in Combs



Message: 11
Date: Mon, 26 Feb 2007 17:08:17 -0500 (GMT-05:00)
From: Richard Hunter <turtlehill@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Nails in Combs
To: harp-l@xxxxxxxxxx
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Winslow Yerxa wrote:
Rick Epping has articulated the belief - and I apologize in advance if
this paraphrase from memory is a mischaracterization - that nails allow
the reedplate to float above the comb in a sort of dynamic relationship
that allows them to vibrate more freely and perhaps adapt to small
changes in the size and shape of the wooden slab.


The only way I can see that this might be an advantage is if the comb isn't machined perfectly flat or the reedplate is warped--i.e., if the harp is poorly made.

Otherwise, how is this "floating" a good thing?  If the plate's not flat to
the comb, wouldn't that inhibit the efficient transmission of vibrations
from the plate to the comb?  And isn't that the point of having the plates
on top of the comb in the first place?

Thanks, Richard Hunter
hunterharp.com

Hi Folks,

Nails are intended to allow the reedplate to "float" only in the sense that,
if the wood swells through moisture, the nails will give and allow the
reedplates to rise along with the swelling wood.  When developing the MS
series with its screw-mounted reedplates, pearwood and other traditional
comb woods could not be used because when swelling, they caused the
reedplates to buckle around the screws. Doussie, a non-swelling wood, was
chosen instead.

There is something to be said for maintaining a degree of looseness in the
construction.  The original MS reed rivets had wide, flat heads that held
the reeds firmly in place.  It was found, however, that by being held so
firmly, the reed's response and resonance was adversely affected.  We
therefore reduced the diameter of the rivet head to as little as the
automatic riveting machinery could still work with and chamfered the
underside of the rivet head to reduce the rivet's contact with the reed.
This improved reed performance, but the traditional type of rivet, which
allows for the greatest freedom of reed movement, is still the
preferred system and is used in all current MS production.

Similarly, the original Marine Band covers were designed to be flexible (no
turned-down ledge at their back) and to have minimum contact with the
reedplates, allowing them to resonate freely along with the reeds.  The
drawback to this design was that they were easily crushed, so the covers
were later modified to increase their strength.

Best regards,
Rick Epping




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