Hohner manufacturing, Billy Branch

[Winslow Yerxa <76450.3230@xxxxxxxxxxxxxx>]

TO: internet:harp-l@xxxxxxxxxxxxxx

FJM asks about Hohner doing computer-controlled manufacturing in
Japan. They are trying to switch over to computer controlled
automated mfg - that's what the modular series is all about, and
they're taking a second shot at it, hoping to get it right this
time. But everything I've heard about it involves manufacturing
in Trossingen.

Now I was told by Hohner personnel when the Big River came out
that its part were manufactured in Trossingen but that it was
assembled in China, yet the Big River is supposed to be a modular
instrument (!). About a year ago, when my
quality-control ex-diode manufacturing girlfriend toured the
modular plant, she and a few other manufacturing types started
pearing at the displays and readouts, and figured out that the
rejection rate was quite high. It turns out that many of the
so-called automation-produced instruments are finished by hand
becuase the machines are doing a lousy job.

While it's true that Billy Branch is not a Russian, it is also
true that we're all (North) Americans, and that many black
musical forms have passed into wider usage than the culture that
gave birth to them. If you went to Russia and dug into the music,
you'd probably find that certain ethnic groups within that
country laid claim to particular parts of its folk heritage. Does
it means that nobody else can ever play them? No. But it does
mean that if someone else takes them up, the flavor and the
meaning will change. If the whole culture takes them up, that
widespread adoption will take on a life of its own, which is what
has happened with blues, jazz and rock&roll. Is this a ripoff on
a cultural level? I dunno, is a tidal wave evil or unjust? On an
individual level, I fully support Willie Dixon suing hell out of
Led Zeppelin or anyone else who steals identifiably
intellectual property.

I think he's right about the Elvis Presley syndrome. Let's face
it, this is still a racist country, on top of which when big
money is at stake, the business tupes will always exploit the
creative types, at least the ones who can't get access to the
best lawyers. Lots of white artists were naive and got ripped
off, too. Nowadays, artists black and white get their business
straight from the git-go. There's no excuse anymore for not doing
so.

But blacks have always had racism to deal with on top of it. Sure
there are lots of black artists on MTV nowadays. But they're
almost invariably female temptresses or male in-yo-face badass
muthas, playing up to age old stereotypes. This is progress? At
least they make some money at it.

On the other hand, as Harvey notes, there is a certain amount of
Crow Jim in the music industry - reverse racism. I've experienced
it myself. But it happens mostly on the small-club level -
exactly where Mr. Branch finds himself.

I dunno, after awhile I lose energy on this debate. Play what you
like and negotiate hard for what you can get. What more is there?