[Harp-L] Seydel 1847 ( was U-block)




After letting my Seydel in A sit for awhile... I took it apart yesterday and tried to smooth the draw reed plate edge with some fine steel wool. It made it better, but it's stilll not a harp I will use much. Don't get me wrong, it's a good harp. While I had it apart, I opened the gaps on the blow reeds 2-3-4 and that made it play much better for me.
I guess it's just me, because I have the same issues with the one GOlden Melody that I own, That bottom reedplate edge is too hard on my lower lip. I'm too used to the plastic sp20s and Bushman harps.
I think I'll bring the Seydel to SPAH in Milwaukee and see if I can sell it to someone for a bargain price. I've played it for about 10 minutes so far.
Steve "Moandabluz" Webb
a fool for the harp in Minnesota


-----Original Message-----
From: staggerin@xxxxxxxxx
To: harp-l@xxxxxxxxxx
Sent: Thu, 17 May 2007 7:43 PM
Subject: Re: [Harp-L] Who u-blocks

Hi AllÂ
Â
Up until about ten years ago, I was primarily a U-blocker - using T-blocking of course for splits, and pucker only when I wanted to free up my tongue for an effect.Â
Since starting seriously on Old Time (fiddle and banjo, stringband type stuff) at that time I reversed the percentage and mostly T-block and now use U-block more for overbends or for when I actually want to avoid splits.Â
I agree with Tom that U-blocking is pretty great for getting access to a lot of notes without a lot of visible external movement, especially energy-efficient for playing in a rack.Â
Â
Also like Tom, I've got to sing the praises of the new Seydel 1847 for tongue embouchers. The steeper and very smooth cover plates make for the best lip glide (and allowing greater relaxation) of any harp I've got. The 'radiusing' (borrowing a term from fretted instrument fingerboards) of the comb and the chamfering of the comb-teeth combine to make more fluid movements of the tongue with less drag.Â
BTW the illusion of 'roundedness' of the holes comes from this bevelling of the 'radiused' comb-teeth.Â
Besides the other design features of the harp, it seems special attention was paid to make an enhanced platform for tonguing. I'm entered in a contest this Sunday and need all the confidence I can get <g>Â
Â
Cheers,Â
Staggerin' JimÂ
Listen to Roots Harmonica at http://www.live365.com/stations/staggerinjimÂ;
Â
----- Original Message ----- From: "Tom McGovern" <tmcg@xxxxxxxxxxxxxx>Â
To: <harp-l@xxxxxxxxxx>Â
Sent: Thursday, May 17, 2007 4:25 PMÂ
Subject: [Harp-L] Who u-blocksÂ
Â
I, too, am primarily a u-blocker. I always have been, since IÂ
self-taught in the late 1960's. I never really thought about it untilÂ
the discussion came up a harp festival a few years ago. I find that IÂ
can get great range with the tongue movement up and down the harpÂ
without moving it. One of my "parlor tricks" is to put the harp in myÂ
teeth, no hands, and play a bit of a fast boogie-woogie bounce withÂ
cords thrown in, in second position, including a one blow and six blowÂ
single note. It's fun and a good way for me to help explain to new andÂ
non- harp players how important tongue position is in playing. I think IÂ
get pretty good tone u-blocking also. There are negatives, though.Â
I've always had trouble doing octaves, as the tip of my tongue won't layÂ
flat up against the harp. I'm convinced there is no right or wrong wayÂ
to play the harmonica. If it sounds good, it's right.Â
Â
Â
As a follow-up to my earlier post about my Seydel 1847's I was bring onÂ
the cruise with our band, I'm pleased to say they not only held up toÂ
some salt-air drenched (and too many boat drinks) heavy playing, theyÂ
still remain my favorite harps. Thanks, Rupert, for bringing them toÂ
the Buckeye.Â
Â
Â
Tom McGovernÂ
Â
www.airmargaritaville.netÂ
Â
Â
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