Re: [Harp-L] Re:Was American Chestnut combs, now stainless steel(Vern Smith, Dave Payne)

["Vern Smith" <jevern@xxxxxxx>]

----- Original Message ----- 
From: "Winslow Yerxa" <winslowyerxa@xxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Thursday, June 11, 2009 12:26 PM
Subject: Re: [Harp-L] Re:Was American Chestnut combs,now stainless steel(Vern Smith, Dave Payne)


> I'm an owner and user of four of the SS 270 combs that Vern had made, and I really like them. The ability to quickly and easily remove just one cover or reedplate is really great.

I'm glad that you are satisfied with our year-long adventure in SS comb-making.  It was a challenge and fun...but I would not do it again.
 
> And the flatness is such that on one of them, I use only the cover screws to fasten both reedplate and covers, without noticeable leakage.

The stiff SS comb was deliberately machined flat.  You are just lucky that the flexible reedplate is also flat.  One could not count on being able to do that with any SS comb no matter how flat.  As long as the reedplate is not kinked but only has long-radius curves, you can and should rely on the screws to hold it down.  Because the coefficients of thermal expansion are slightly different for brass and SS, That might cause the plates to bow away from the conb if the temperature rises from the time you tighten the cover screws.

Do you know the trick of deliberately bowing the steel covers so they will apply hold-down forces on the fronts of the reedplates?  

> About the only change I would make - and this is also true of the Farrell lifetime comb on which it is based - would be to add floor material to reduce the total volume of the chambers for the highest-pitched reeds (Holes 10, 11, and 12), at least when using higher-pitched reedplates (such as in a C harmonica), as both pitch and response seems to suffer in those reeds, and I suspect that it's due to the size of the chambers (The XB-40 has a similar problem in the same holes nad keys of harmonica).

That should be an easy modification to make.  Simply take a look at a comb that works the way you like on those high notes and partly fill the chambers about the same with epoxy putty, beeswax, or whatever material you prefer.  I would taper it in front to avoid blocking the air behind the slide.  Other than that, the volume of the chamber and not the shape of the "ramp" is important.  Just take care not to get any of the filler on the surfaces that mate with the reedplate or slide.

> I'm not taking Vern up on his bet re hearing different comb materials. 

Neither has anyone else.  Most say that the lowly wager is morally repugnant.  I say that they lack the courage of their convictions.  It would not be gambling because, unlike cards or dice, the outcome can be known in advance.  Winning  $1000 and a public recantation from me would be doubly sweet! 

> However, I will say that I have experienced, as a player, something that is unique to the stainless steel combed chromatic harmonica I have played, including at
least three different Renaissance harmonicas, and the stainless-combed
270s I own: After playing for a few minutes, the harmonica seems to open up and
start to deliver tonal power that feels stronger than anything else
I've experienced.

The key words here are "seems" and "feel."  Many say that they share your experiences but none has been able to demonstrate them under controlled conditions.  

Vern