Re: [Harp-L] The "Perfect" Fusion of Chromatic and Diatonic?



Thanks for all your continuing positive feedback about Seydel Harps, Bob! Just to make it clear to all interested in ordering custom, special tuned harps like Bob describes below--they must be ordered directly from the Seydel website (www.seydelusa.com) They are only available direct from the factory. There is a tab at the top of the page that says "specialities", click on that, and follow the instructions there about downloading and filling out the pdf forms and emailing them to the factory. There are separate forms for diatonic, diatonic 12 hole, and chromatic. After the form is submitted the factory will get back to you with a price and time quote and a link to order the product. There is no obligation to order.

Eventually (soon) that section will be an interactive web page, so it will be simpler to provide your requests.

Thanks again,

Rupert Oysler
www.seydelusa.com



Robert Coble wrote:
I have a bias toward the Seydel Circular Tuning. I currently play the Blues Session
Circular Tuning diatonics, and have a complete set of all 12 keys. (I haven't tried
the low tunings yet.) I love these harps, because there are NO missing notes in the
diatonic scale for over two octaves, AND I can get 3-note (at least) chords on EVERY
scale degree for over two octaves. Bending is limited to halftone draw bends ONLY;
there are NO blow bends. Overblowing for full chromaticism is supported, but I don't
use it (so far). The lower octave allows nice bends for the b3, b5, b7 blues notes.


I just got a Seydel Chromatic Deluxe specially designed at the factory with Circular
Tuning. I wanted a chromatic with the EXACT same note and breathing patterns as
my diatonics. It cost $136.00 (which included shipping to the USA). Delivery time
from order placement to delivery was less than 3 weeks. The price for the stock
Seydel Chromatic Deluxe is $89.95 at Coast to Coast Music (not including shipping).
So, for the measly additional sum of $46.05, I got a custom designed chromatic
harmonica that I LOVE! Please note that Seydel manufactures these special designs;
they do NOT retune an existing harmonica. This is a very tight little harp, and it
compares favorably (IMHO) to the ubiquitous Hohner 270. (Yeah, I do have one of
them, but I don't like it very much; I prefer the Hohner 280 16-holer.)


I used A=442Hz as the reference pitch, because I wanted a somewhat "brighter"
sound. When the slide is OUT, the tuning is IDENTICAL to the stock Seydel Blues
Session with Circular Tuning for the Seydel labeled "G" harp. (That corresponds to
"C" major.) When the slide is IN, the tuning is IDENTICAL to the stock Blues Session
with Circular Tuning for the Seydel labeled "Ab" (G#) harp. (That corresponds to
"C#/Db" major.) Because of the nature of Circular Tuning, the range of notes is
actually greater than a standard 12-hole chromatic. My special design starts on G3,
the G below middle C, and extends up through 3 full octaves of "C" major. I wanted
to be able to ascend from the V back up to the lowest I; it's a nice little run that's very
useful on the low end. C3 is the lowest starting point that Seydel will consider. That
corresponds to the lowest note on a Hohner 280 (the 16-holer).


Because this special chromatic has EXACTLY the same breathing patterns as my
diatonics. It makes switching between diatonics and chromatic drop dead simple.
I was able to take the chromatic out of the nice box, and play "Someone To Watch
Over Me" with no fumbling around. The notes I previously had to bend in the bridge
were so easy to get with the slide in! No intonation differences between unbent and
bent notes! No switching mental gears when changing from diatonic to chromatic
and back again: just play the thing! It seems very intuitive to hit the slide button
whenever an accidental is required.


It also means that I have all those nice chords available, which cannot be played on a
standard chromatic. The only loss (not a big issue for ME) is that octaves CANNOT be
played; because of the nature of Circular Tuning, the breath direction switches from
one octave to another. It seems that most players compensate for the lack of chords
on the standard chromatic by using octaves for a fuller sound. (Hey! That's MY
observation/opinion on using octaves; you're certainly entitled to your own.)


The biggest obstacle for most people is that the in/out breathing patterns switch from
octave to octave with Circular Tuning. It took me about 4 months to totally switch from
standard diatonics to the Circular Tuned diatonics, but I was NOT practicing every day.
I could have switched over much sooner, if I had worked at it regularly.


Now my problem is trying to find the funds to buy more of these special chromatics!
I'd love to have a complete set in all 12 keys eventually, but that may take years, given
that I'm retired and the shekels for my harp addiction are severely limited. I have to
thank Mrs. Santa Claus for an early Christmas present!


Just walking along (while playing harp) on another "road less traveled,"
Crazy ("bout Seydel harps) Bob

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