[Harp-L] The Volume Game



A word to the wise...I haven't seen any reference to hearing loss and
stage volumes on this list - but if y'all want to have long musical
careers I would suggest not playing The Volume Game. I worked in
electric bands for 15+ years and now have tinitus in my left ear ( a
constant ringing) and hearing loss in my right. It's just not worth it -
let's face it, a bar gig is not worth it! 
I now will only take low volume electric gigs (I blow through a 1955
Champ with a 6" speaker and a Beyer M69 mic - warm, smooth overdrive). I
have custom ear plugs for anything louder but prefer to play mostly
acoustic music. 

Beware brother beware!

Trip Henderson - NYC



Chris Michalek writes:
"D harp 3rd position cuts through adequately. Or tell the guitarists
to turn down"

Hey list,
I see this advice all the time on this list, & in real life this is just
not 
practical.  In the best of all possible worlds, you could get
guitarists, 
bassists, drummers, et al. to turn down at will. Not in this life.  I
play in a 
rock band. The music is loud. Too loud. The guys in my band are
generally easy 
to get along with, but do not want me telling them how to shape their
sound. 
Even if they turn down temporarily, the sound will creep back up. 
  I don't like it at all, but that's the way it is. It was even worse
when I 
was playing with horns. A trumpet next to your head is louder than most
guitar 
amps.  I have learned that the best defense is a good offense. My rig is

LOUD. I am not completely happy with the way it sounds, but at least I
can be 
heard. 
The idea that you are going to get a guy with a huge investment in amps
& 
guitars to turn down so you can hear your harp is usually not realistic.
If you 
play in a band that plays loud, you have to learn to deal with it. 
Otherwise, find a different band. 

-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On
Behalf Of harp-l-request@xxxxxxxxxx
Sent: Sunday, October 03, 2004 10:17 PM
To: harp-l@xxxxxxxxxx
Subject: Harp-L Digest, Vol 14, Issue 7


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Today's Topics:

   1. Re: Minneapolis Harp?? (Bobbie Giordano)
   2. A harp live (rainbowjimmy@xxxxxxxxxxxxxxxx)
   3. RE: A harp live (Chris Michalek)
   4. RE: Advice on a First Chromatic (Chris Hammond)
   5. Re: Airport security and harps (scott gold)
   6. Re: Fwd: Strange discovery (diminished chords) (Dave Murray)
   7. 'A' harp cutting through, telling guitarists to turn down
      (Roscoharp@xxxxxxx)
   8. RE: 'A' harp cutting through, telling guitarists to turn down
      (Bobby " BlackHat" Walters)
   9. Re: 'A' harp cutting through, telling guitarists to turn down
      (Robert McGraw)
  10. RE: 'A' harp cutting through, telling guitarists to turn down
      (Chris Michalek)
  11. Slonimski (George Brooks)
  12. bends and reed fatigue (Jp Pagan)
  13. Re: 'A' harp cutting through, telling guitarists to turn down
      (The Foley's)


----------------------------------------------------------------------

Message: 1
Date: Sun, 03 Oct 2004 17:10:16 -0400
From: Bobbie Giordano <bobg@xxxxxxxxx>
Subject: Re: [Harp-L] Minneapolis Harp??
To: Harp-L@xxxxxxxxxx
Message-ID: <3.0.32.20041003171002.00dc43d0@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"

At 06:10 PM 10/2/2004 -0700, Mojo wrote:
>It seems that I am forced to miss the upcoming Rocky 
>Mountain Harmonica Festival next week due to an 
>inescapeabale work obligation that brings me to the 
>city of Minneapolis, Minn. for most of the week.

What a bummer!!  I know you were really looking forward to that!!  :(

>Is Clint Hoover playing in town? It sure would be nice
>to hook up with a harpster or two at least once,
>seeing as I'm missing out on a great harp fest in
>my own backyard.

You should be able to contact Clint at <choover@xxxxxxxxxxxx> .  If
you'd
like his phone number, ask me offlist or check your copy of the roster
of the
registered attendees at SPAH 2004.  He's listed there.

Tell him and Gretchen "Hi" for me!

:)
Bobbie



------------------------------

Message: 2
Date: Sun,  3 Oct 2004 16:44:12 -0500
From: rainbowjimmy@xxxxxxxxxxxxxxxx
Subject: [Harp-L] A harp live
To: harp-l@xxxxxxxxxx
Message-ID: <1096839852.416072ac38283@xxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1


I just played Friday and Sat so I'm beat. When you play live in E,
especially
with two guitars  how do you cut through? Probably the big 15 inch
speaker
doesn't help. Tongueing octaves on the low end hardly come through.

Rainbow Jimmy
http://www.spaceanimals.com
http://www.soundclick.com/theelectricstarlightspaceanimals.htm


------------------------------

Message: 3
Date: Sun, 3 Oct 2004 17:10:48 -0500
From: "Chris Michalek" <Chris@xxxxxxxxxxxxxxxxxx>
Subject: RE: [Harp-L] A harp live
To: rainbowjimmy@xxxxxxxxxxxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <380-220041003221048828@xxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1


D harp 3rd position cuts through adequately.  Or tell the guitarists
to turn down.


>
>
>
>---- Original Message ----
>From: rainbowjimmy@xxxxxxxxxxxxxxxx
>To: harp-l@xxxxxxxxxx
>Subject: RE: [Harp-L] A harp live
>Date: Sun,  3 Oct 2004 16:44:12 -0500
>
>>
>>I just played Friday and Sat so I'm beat. When you play live in E,
>especially
>>with two guitars  how do you cut through? Probably the big 15 inch
>speaker
>>doesn't help. Tongueing octaves on the low end hardly come through.
>>
>>Rainbow Jimmy
>>http://www.spaceanimals.com
>>http://www.soundclick.com/theelectricstarlightspaceanimals.htm
>>_______________________________________________
>>Harp-L is sponsored by SPAH, http://www.spah.org
>>Harp-L@xxxxxxxxxx
>>http://harp-l.org/mailman/listinfo/harp-l
>>

Chris Michalek
Get ready for the Global Harmonica Summit 2005




------------------------------

Message: 4
Date: Sun, 03 Oct 2004 18:18:41 -0400
From: "Chris Hammond" <dawgawntired@xxxxxxxxxxx>
Subject: RE: [Harp-L] Advice on a First Chromatic
To: harp-l@xxxxxxxxxx
Message-ID: <BAY14-F37XAwxXSXI3a000024b5@xxxxxxxxxxx>
Content-Type: text/plain; format=flowed

I have been playing Chromatic now for about a year and have played
diatonic 
for almost 30 years.  I have a 280 and a CX-12.  Personally, I'd buy the

CX-12.  It has advanced my playing by leaps and bounds.  The main
advantages 
for me are
- Easy to disassemble and clean
- Extremely air tight
- Extremely durable
- Un-stickable (at least so far) slide




>From: "Phil Marty" <philmguy@xxxxxxxxxxxxx>
>To: "Harp-L" <harp-l@xxxxxxxxxx>
>Subject: [Harp-L] Advice on a First Chromatic
>Date: Fri, 1 Oct 2004 22:08:46 -0500
>
>I've been playing diatonic blues harp for about 3 years and would like
to
>experiment with chromatic. Wonder if some of the chromatic players
could
>recommend a first harp.
>
>I was considering the 64 Chromonica or Super 64 Chromonica or possibly 
>going
>with a 12-hole and trying the CX12 Chromatic. Or there's always Suzuki,

>too.
>
>Any advice would be appreciated.
>
>Thanks
>
>Phil
>Chicago
>
>
>_______________________________________________
>Harp-L is sponsored by SPAH, http://www.spah.org
>Harp-L@xxxxxxxxxx
>http://harp-l.org/mailman/listinfo/harp-l

_________________________________________________________________
Don't just search. Find. Check out the new MSN Search! 
http://search.msn.click-url.com/go/onm00200636ave/direct/01/



------------------------------

Message: 5
Date: Mon, 04 Oct 2004 08:25:05 +1000
From: scott gold <mwmgum@xxxxxxx>
Subject: [Harp-L] Re: Airport security and harps
To: harp-l@xxxxxxxxxx
Message-ID:
	
<scottgold$202.123.135.71$.6.0.0.22.2.20041004072839.01dadc00@xxxxxxx>
Content-Type: text/plain; charset="us-ascii"; format=flowed

hafa adai, all, from sunny guam,

i fly about 120,000 miles per year, and i have passed through quite a
few 
airport security checkpoints as well as overland borders over the 
years.  while no expert in the matter of getting searched at the
security 
gate, i have figured out a few tricks......

first, fyi,  here is a list of most of the airports i've frequented
since 
9/11 - in no particular order:

Guam (last week)
Saipan
Yap
Palau
Chuuk
Narita
Kansai
Manila
Hong Kong
Beijing
Shanghai
Honolulu
Dubai
addis ababa
San Francisco (last week)
Denver (last week)
Albuquerque (last week)
JFK
La Guardia
Dulles
National
Detroit
Chicago

1. every airport is a bit different - the rules may be standardized, but
in 
practice, procedures can vary quite a bit from airport to airport(and 
airline to airline), especially overseas airports.  for example, while
most 
have done away with the this little hassle, some still snag you at the
gate 
- security personnel with set up tables in the jetway for yet another 
annoying search of your carry on bags.  (i've figured out how to usually

avoid that inconvenience, but due to security concerns, i cannot reveal 
this technique!)

2. some airports, like Hong Kong and Kansai - will hand-check all your 
to-be-checked-in bags at check-in -- this can only be avoided by
traveling 
carry-on only.  typically, though, it's only on US carriers or aircraft 
destined for the USA.  i believe this system is employed when there are
no 
x-ray machines at check-in.  at Hong Kong they do it for everyone;  at 
Kansai Intl., on the other hand, they do it randomly.  oh, at the
security 
gate in japan, they now ask if your carry on bag as water in it.  anyone

know what that's about? (i guess it means, like harp players who know 
already know better say: do not soak, especially when flying!)

3. i believe that the security gate metal detectors can be adjusted for 
strength - and not all are the same potency.  so some might call out
your 
harps, some might not.  the way to avoid trouble at the gate is to empty

your pockets of all metal, including gum foil, heavy metal belt buckles,

work-boots with steel toes, your watch, coins, keys, metal pens, metal 
shades, and your EV 920 mic.  as soon as you trigger the alarm, you are 
destined for a basic search.

4. the machine at the security gate that your bags go through is getting

better - i's in color for example.  the problem has to do with the 
personnel observing the picture.  most everyone has metal of some sort
in 
their bags, but not everyone carry a stack of harps with them, and for
the 
uninitiated, it can be difficult to identify.  some say, oh that's a 
harmonica, right?  my brother plays;  others say, step over this way,
sir, 
and DO NOT touch the bag!.   and as someone recently wrote, even when
taken 
out and inspected, some security personnel still may not understand the 
difference between a marine band and an IED (improvised explosive 
device).  see a past post of mine in the archives about my forced
impromptu 
concert in Manila 2 years or so ago.

5. in the past (pre-9/11) due to lost baggage, theft, and damage
concerns, 
i like i am sure most of you  have reasoned, it always made sense  to
carry 
on your harps and equipment.   well, not this sailor.  i pack them in my

checked in luggage - it's just not worth the hassle.  i carry one -
maybe 
two (diatonic or diatonic/chrom for those long delays.....).  with the 
added security come a benefit - less theft.  and, when you think about
it, 
most theft is money, jewelry, cd's, cameras, that sort of thing.  no one

really want your nasty stinkin' harps.   another point:  in my
experience, 
there have been improvements in the lost baggage situation.  it has been

many years now since i lost a bag (for good).  some didn't make it to my

destination on time, but 98% of the time, i've been okay

6. sometimes, other stuff in your bag will trigger a search at security,

and if you are packing harps, mics, and whatnot, you will have that
looked 
into as well.  i have tried to drop the notebook computer from my pack 
list, for example.  it's just too much of a hassle.  instead i check in
on 
my harp-l digest at an internet cafe, etc.

7. my final tip:  always smile.  and be nice.  i have gotten myself
through 
many a jam that way and, to date - knock on my wood comb  - have never
been 
strip-searched or otherwise probed.....and for those who know me and
what i 
look like, that's not easy to say for someone who's face is a cross
between 
a drug-runner and a terrorist.  i've been
interrogated/detained/anxiously 
stared at  bangkok, hong kong, and even honolulu.  had my shoes, belts
and 
seems looked into, but never body parts.

that's it for this installment.

travel safe and play harp safe!

yours in transit,

-sg
tumon bay, guam






------------------------------

Message: 6
Date: Sun, 3 Oct 2004 15:40:18 -0700
From: "Dave Murray" <dlmurray@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Fwd: Strange discovery (diminished chords)
To: <harp-l@xxxxxxxxxx>
Message-ID: <045001c4a999$f5f5e5c0$7032f842@WHOCARES>
Content-Type: text/plain;	charset="iso-8859-1"

> From: Jonathan Hill <jonathan.f.hill@xxxxxxxxx>
> I just noticed that draw holes on a regularly tuned diatonic are
> exactly the same for 3 thru 6 and 7 thru 10. And there's a nice
> diminished chord on 3 thru 5 and 7 thru 9. I don't know why I've never
> noticed this before, but its there. So based on this symmetry how do
> some of you develop melodic ideas by taking advantage of this setup?

I'm no heavy (as a player :0)) but that's just what you get with modes
(positions) on a diatonic instrument if you don't bend any notes out of
mode. Each mode has a diminished chord within the mode, it just moves to
a
new place according to the shift of all of the notes..

1st position (Ionian) VII diminished
2nd position (Mixolydian) III diminished
3rd position (Dorian) VI diminished
4th position (Aeolian) II diminished

You might find this chart to be of interest, it folds down the middle
and
goes into a 7 harp case.
  http://trinity.psnw.com/~dlmurray/thing.html

Peace and music,
Dave




------------------------------

Message: 7
Date: Sun, 3 Oct 2004 18:53:25 EDT
From: Roscoharp@xxxxxxx
Subject: [Harp-L] 'A' harp cutting through, telling guitarists to turn
	down
To: harp-l@xxxxxxxxxx
Message-ID: <20.3526e467.2e91dce5@xxxxxxx>
Content-Type: text/plain; charset="US-ASCII"

Chris Michalek writes:
"D harp 3rd position cuts through adequately. Or tell the guitarists
to turn down"

Hey list,
I see this advice all the time on this list, & in real life this is just
not 
practical.  In the best of all possible worlds, you could get
guitarists, 
bassists, drummers, et al. to turn down at will. Not in this life.  I
play in a 
rock band. The music is loud. Too loud. The guys in my band are
generally easy 
to get along with, but do not want me telling them how to shape their
sound. 
Even if they turn down temporarily, the sound will creep back up. 
  I don't like it at all, but that's the way it is. It was even worse
when I 
was playing with horns. A trumpet next to your head is louder than most
guitar 
amps.  I have learned that the best defense is a good offense. My rig is

LOUD. I am not completely happy with the way it sounds, but at least I
can be 
heard. 
The idea that you are going to get a guy with a huge investment in amps
& 
guitars to turn down so you can hear your harp is usually not realistic.
If you 
play in a band that plays loud, you have to learn to deal with it. 
Otherwise, find a different band. 


later, Rosco
maybe august 


------------------------------

Message: 8
Date: Sun, 3 Oct 2004 19:21:36 -0400
From: "Bobby \" BlackHat\" Walters" <bobby@xxxxxxxxxxxxxxxxx>
Subject: RE: [Harp-L] 'A' harp cutting through, telling guitarists to
	turn down
To: <Roscoharp@xxxxxxx>, <harp-l@xxxxxxxxxx>
Message-ID: <20041003232147.UUWH29990.lakermmtao12.cox.net@OFFICE>
Content-Type: text/plain;	charset="us-ascii"

I agree that getting the guitar players to crank it back it pretty much
a
lost cause.   The whole concept of dynamics is completely lost on many
players.  I too finally opted for a bigger amp (Bassman) so I could
compete.
But even with the larger amp I work to keep the volume reasonable.  I
have
listened to many bands and watched people get up and leave because of
the
volume.  If you see folks stuffing napkins in there ears, that should be
a
hint.

I attribute it to two reasons.  

1.  Older players can't tell because they are already deaf from years of
playing too loud.

2.  Youngsters don't know any better because noone is teaching them any
better.  They get together with other youngsters and just keep trying to
out
crank each other.  It's a case of the soon to be deaf leading the soon
to be
deaf...and so the cylcle continues.

BlackHat
http://bobbyblackhat.com



-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On
Behalf
Of Roscoharp@xxxxxxx
Sent: Sunday, October 03, 2004 6:53 PM
To: harp-l@xxxxxxxxxx
Subject: [Harp-L] 'A' harp cutting through, telling guitarists to turn
down

Chris Michalek writes:
"D harp 3rd position cuts through adequately. Or tell the guitarists to
turn
down"

Hey list,
I see this advice all the time on this list, & in real life this is just
not
practical.  In the best of all possible worlds, you could get
guitarists,
bassists, drummers, et al. to turn down at will. Not in this life.  I
play
in a rock band. The music is loud. Too loud. The guys in my band are
generally easy to get along with, but do not want me telling them how to
shape their sound. 
Even if they turn down temporarily, the sound will creep back up. 
  I don't like it at all, but that's the way it is. It was even worse
when I
was playing with horns. A trumpet next to your head is louder than most
guitar amps.  I have learned that the best defense is a good offense. My
rig
is LOUD. I am not completely happy with the way it sounds, but at least
I
can be heard. 
The idea that you are going to get a guy with a huge investment in amps
&
guitars to turn down so you can hear your harp is usually not realistic.
If
you play in a band that plays loud, you have to learn to deal with it. 
Otherwise, find a different band. 


later, Rosco
maybe august
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l





------------------------------

Message: 9
Date: Sun, 3 Oct 2004 19:34:25 -0400
From: "Robert McGraw" <r_mcgraw@xxxxxxxxxxx>
Subject: Re: [Harp-L] 'A' harp cutting through, telling guitarists to
	turn down
To: <harp-l@xxxxxxxxxx>
Cc: Roscoharp@xxxxxxx
Message-ID: <000401c4a9a1$84ff2900$d66f3644@b2h5w8>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
	reply-type=original


Rosco wrote:
>  In the best of all possible worlds, you could get guitarists,
> bassists, drummers, et al. to turn down at will. Not in this life.....
If 
> you
> play in a band that plays loud, you have to learn to deal with it.
> Otherwise, find a different band.
---Rosco, you are 100% correct. I also play rock music[not as good as
Rosco 
and his fine group Maybe August,though] and volume is just something I
have 
to live with...unless you're playing traditional blues or jazz or unless
you 
have your own band and call the shots, the guitar players are simply NOT

going to turn down....at least not in my little portion of the
space-time 
continuum.
WVa Bob 




------------------------------

Message: 10
Date: Sun, 3 Oct 2004 19:20:19 -0500
From: "Chris Michalek" <Chris@xxxxxxxxxxxxxxxxxx>
Subject: RE: [Harp-L] 'A' harp cutting through, telling guitarists to
	turn down
To: Roscoharp@xxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <380-22004101402019578@xxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1


Leave it to Rosco to play devil's advocate.  What he says is true but
in the REAL world it's not that realistic to go out and plunk down
$1500+ for a louder rig.  

The best way I've found to get guitarists to turn down is to point
directly at them and then motion for the them to get soft.  This
almost always work during a solo - especially yours.  I think most
players get loud because the are simply caught up in the moment. 
Most player will comply and it will add a nice sense of dynamics to
the shows.  Or ya could just use the friggin D harp in 3rd postion. 
The higher frequencies will cut better than the notes on the A harp.


>
>
>
>---- Original Message ----
>From: Roscoharp@xxxxxxx
>To: harp-l@xxxxxxxxxx
>Subject: RE: [Harp-L] 'A' harp cutting through, telling guitarists to
>turn down
>Date: Sun, 3 Oct 2004 18:53:25 EDT
>
>>Chris Michalek writes:
>>"D harp 3rd position cuts through adequately. Or tell the guitarists
>>to turn down"
>>
>>Hey list,
>>I see this advice all the time on this list, & in real life this is
>just not 
>>practical.  In the best of all possible worlds, you could get
>guitarists, 
>>bassists, drummers, et al. to turn down at will. Not in this life. 
>I play in a 
>>rock band. The music is loud. Too loud. The guys in my band are
>generally easy 
>>to get along with, but do not want me telling them how to shape
>their sound. 
>>Even if they turn down temporarily, the sound will creep back up. 
>>  I don't like it at all, but that's the way it is. It was even
>worse when I 
>>was playing with horns. A trumpet next to your head is louder than
>most guitar 
>>amps.  I have learned that the best defense is a good offense. My
>rig is 
>>LOUD. I am not completely happy with the way it sounds, but at least
>I can be 
>>heard. 
>>The idea that you are going to get a guy with a huge investment in
>amps & 
>>guitars to turn down so you can hear your harp is usually not
>realistic. If you 
>>play in a band that plays loud, you have to learn to deal with it. 
>>Otherwise, find a different band. 
>>
>>
>>later, Rosco
>>maybe august 
>>_______________________________________________
>>Harp-L is sponsored by SPAH, http://www.spah.org
>>Harp-L@xxxxxxxxxx
>>http://harp-l.org/mailman/listinfo/harp-l
>>

Chris Michalek
Get ready for the Global Harmonica Summit 2005




------------------------------

Message: 11
Date: Sun, 3 Oct 2004 21:46:59 -0400
From: George Brooks <gbrooks1@xxxxxxxxx>
Subject: [Harp-L] Slonimski
To: Harp-L <harp-l@xxxxxxxxxx>, Chris Michalek <Chris@xxxxxxxxxxxx>
Message-ID: <47E5C444-15A7-11D9-A942-000A95D3908E@xxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII; format=flowed

The brilliant and usually mostly right Chris Michalek wrote:

 >One thing to do is get Slominski's Encyclopedia
 >of Scales and practice all of the scales in all keys.

A poor idea, in my opinion.  Start with something much easier, like the 
major scales in all 12 keys (on a single harp).  Or the chromatic 
scale, naming the notes (or thinking their names) as you go.  Not easy, 
but a lot easier than what Chris suggests, which is the super-advanced 
course.  Coltrane used the book, and after he picked it up, a lot of 
other jazz players began to use it (on their chromatic-by-design 
instruments).  For most of us, doing what Chris suggests is years of 
hard work in the future, if ever in this lifetime.  That definitely 
includes me, and I suspect it includes Chris.  In fact, I think doing 
what Chris suggests falls into the category of NBH (nobody but Howard).

If you are curious about the book (and it is incredible, but dense), 
the author's name is Nicolas Slonimsky and the title is "Thesaurus of 
Scales and Melodic Patterns."  Amsco Publications #GS 10018, ISBN 
0-8256-1449-X.

George 



------------------------------

Message: 12
Date: Sun, 3 Oct 2004 19:03:42 -0700 (PDT)
From: Jp Pagan <jpl_pagan@xxxxxxxxx>
Subject: [Harp-L] bends and reed fatigue
To: harp-l harp-l <harp-l@xxxxxxxxxx>
Message-ID: <20041004020342.82515.qmail@xxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii

hi all,

   i'm pretty sure i know the answer to this problem,
but i thought i'd throw it out there, hoping to learn
something:
   lately, i've been trying to get into 1st position
and i'm noticing that my blow bends are all knocking
my harps out of tune. i even bought a new G harp
recently, and after just playing it once, i got
beating in my 6/9 octave - after blow bending the 9. 
   my feeling is this is a matter of bad technique.
perhaps, without knowing it, i'm forcing the bend and
it's knocking the reed out of tune. i'm trying not to
play hard but...
    i've also encountered this with the 4 draw. not as
often, in fact, only twice in a couple of years, (once
on a A, and recently on a D) but still. it's annoying.
any tips? 

          thanks,
                   --Jp


		
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Yahoo! Mail is new and improved - Check it out!
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------------------------------

Message: 13
Date: Sun, 3 Oct 2004 22:20:32 -0400
From: "The Foley's" <dfoley1647@xxxxxxxxxx>
Subject: Re: [Harp-L] 'A' harp cutting through, telling guitarists to
	turn down
To: <harp-l@xxxxxxxxxx>
Message-ID:
	<002f01c4a9b8$b9e53760$74926718@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx>
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Gentlemen,  if I may suggest an alternative method for A harp, to cut
thru
the mix,  why  not use an XB40 in A and play
middle and upper register. Imo, this harp is a far superior instrument
for
most generes of music particularily traditional blues. Far more flexible
because of the enharmonics available and as far as some players
complaining
about the tone of this instrument, I don't buy this, not one little bit.
Hog-wash, I say.  If you are so inclined this little puppy will bark for
you
if you like. Or it can be sweet as honey, or whatever you prefer.  The
one
pre-requisite required is one must keep the flippin' harmonica in your
mouth
for a reasonable amount of time in order to reap the considerable
benefits
this instrument has to offer. Just like when we all started to learn to
overblow/overdraw the intonation and the sounds eminating from the
woodshed
often sounded like a small songbird being castrated.  You guys remember,
don't ya?(smile)   One must practice diligently regardless of instrument
in
order to achieve satsifactory results.  And even if you do take Chris's
advice, play it 3rd position XB40, ummm, ummmm. good.  So go forth young
XB
40 players, yes go forth and multiply, you will be rewarded.

Respectfully,

Derrick, the Devil's Advocate, Foley
Those weak enough to fail to achieve their dreams will never hesitate to
be
there to discourage others from trying.




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End of Harp-L Digest, Vol 14, Issue 7
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