An argument for custom harmonicas

["tony" <tony@xxxxxxxxxxxxxxx>]

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There are occasional references to custom harmonicas on this list. For =
those
who have never considered these instruments, the following page from my =
site
(http://www.harmonicatunes.com <http://www.harmonicatunes.com/> ) may be =
of
interest.=20

=20

Tony Eyers

Australia

=20

..

=20

Much has been written about custom harmonicas. I suspect that most =
players
ignore it, and continue with off the shelf instruments. I was like this,
until I tried a Joe Filisko harmonica. My friend, the New York harmonica
player Trip Henderson gave me one to try. I remember playing one note, =
then
bursting out laughing. I could not believe that a harmonica could be so
powerful and responsive.

=20

The logic behind custom harmonicas is similar to acoustic guitars. You =
start
on a cheaper guitar, then move up to a quality model, like a Taylor or a
Martin. Also, many guitar players seek vintage instruments, because they
sound better (I play a 1955 Gibson L50 F hole acoustic). The fact is =
simply
this: you would never see a quality guitarist with a cheap instrument.

=20

The same applies to harmonicas. Standard Hohners and Lee Oskars are =
worthy
instruments, but they are mass produced. Hence only a short time is =
spent
preparing each one. For quality custom harmonicas however, a master
craftsman may spend up to a day preparing each instrument. This is why =
they
cost more, and why they are so much better to play.

=20

A key issue however is that, unlike a guitar, a harmonica will wear out. =
The
answer to this is servicing. Custom makers will generally service their
instruments, at a moderate fraction of the full price. This servicing =
should
include replacement of  worn reeds (e.g. the number 4 hole draw), =
retuning
and re-gapping. The result should be an instrument which is as good as =
new
(or better, if the maker has developed new skills in the interim). I =
have 4
custom instruments, for more than two years. Generally an instrument =
will
last me a year with regular playing, and so I've had the instruments
serviced once. The net cost is about what I would have paid for changing
guitar strings each fortnight.

=20

Some players do go through instruments more quickly, and for them, the =
cost
of regular servicing may be too great. However, as custom instruments =
are SO
much louder than standard ones, less pressure is needed for the same
results. Hence, a different playing style may extend  harmonica life. =
For
example, Jim Conway, the famous Australian player produces enormous =
volume
and tone from his Neil Graham custom instruments. My understanding is =
that
Jim has his instruments serviced about as often as I do.

=20

Another aspect of  cost is how many instruments are really needed. For =
Irish
players, two instruments will suffice, as almost all tunes are either in =
G
or D (or relative minor keys). For bluegrass, I have four instruments, =
i.e.
C, D, F and G. A blues player can generally get by with five harmonicas,
i.e. A,C,D,F and G. Hence the cost of a workable custom set is similar =
to a
middle range acoustic guitar, with the servicing costs similar to =
regular
string changes.

=20

In Australia, we are fortunate to have Neil Graham. His method is based =
on
the Joe Filisko technique, which involves a specific contour being =
applied
to each reed. Neil has travelled overseas on a Churchill Fellowship, to =
meet
and study with the great makers and players. As a result, Neil produces
instruments with enormous power and responsiveness. For example, they =
allow
me to cut through loud Irish or Bluegrass sessions, while still having =
some
in reserve. It takes a while to get used to this much power and tone.