Re: [Harp-L] Re: XB-40

[Fernando Bresslau <bresslau@xxxxxxxxxxxxxx>]

Hi all.

I'm glad to see the exchange of ideas about the XB. Glad because I am, 
besides being the Hohner guy, a great fan of the XB and its possibilities.

I could relate a lot to what Richard and Michael said about the 
instruments. It is a super-diatonic, without being a diatonic. It is not 
a diatonic because it is bigger than a diatonic, has more reeds, has 
valves, has a completely different sound and feel. But it is a 
super-diatonic in the sense that it does a lot of things that the 
diatonic does, in its own special way, and much more.

I also expected the XB to be a better option to chromaticity than a 
regular diatonic. And it could be argued that it is. At least, if one is 
 accostumed to the richter layout and has not yet ventured into 
overblowing, the XB is a good option. You get the extra notes that you 
need using the same bending technique that you already know, without 
having to learn the dificult overblowing technique.

But Michael Peloquin hits the nail in the head when he says:

"I know that my attempts on my XB40 in C are frustrating in that I have 
an OB thought process that is the exact opposite of the all notes bend 
DOWN process on the XB40."

Of course, if you are already accostumed to overblowing, the principle 
of the XB might be confusing, and maybe even unnecessary. Howard Levy 
did not spend too much time thinking about the XB. He already has his 
tools for his work, and is happy (and we too) with the results he gets 
with them. Why bother with a change? Maybe if he wanted a different sound.

I was a bit restless after getting my XB-40, because I expected it to be 
 the answer to chromatic playing. Playing it, I found that it was not. 
For a very simple reason: the richter layout is not the smartest 
solution for playing chromatically. But then, as Richard mentioned, I 
discovered that it was a diatonic with extra powers, and that brought 
peace back to my mind. I haven't used the XB too much yet, but now, when 
I use it, I know what and why I am using it for.

To close this e-mail, I just wanted to mention that the solution for 
chromatic playing on the diatonic that I have chosen for myself is the 
diminished layout. I have not started working on it yet, but it makes a 
lot of sense to me. Both on diatonic and on chromatic. And even XB-40. 
Maybe even Bass. But this is a whole different topic.

All the best to you all,
Fernando, lurking in Trossingen

Chris Michalek wrote:

>
>
> Richard Hunter wrote:
>
>
>> instrument.  According to Rick Epping, it's not designed to be played
>> as a fully chromatic instrument, David Fairweather's generally
>> laudable efforts in that regard notwithstanding.   It's designed as a
>> kind of super-diatonic harp, where a deep bend can be applied to any
>> note for expressive purposes.  That's why every note bends a full
>> step, instead of a half-step, which would be more useful for
>> controlling intonation on bends.
>
>
>
>
> This makes sense to me.  If it's used as a "super diatonic" in 1-3
> position then it works for wells in terms of expressiveness within
> certain positions.  I remember it being touted as an Overblow killer
> which it definately is not.  Too bad it's not the same size as a
> regular diatonic.
>
>
>
> Chris Michalek