Re: [Harp-L] can I blame the gear--please?

[Doug Schroer <dougharps@xxxxxxxxx>]

"Joe Spiers" <moparjoe@...> wrote:
<snip>
"A justly intoned amplified chord is an ominous force, bigger than the
notes you are playing."

This is true to a great extent, though a chord in equal intonation can
be powerful, though edgy and less smooth.  I will reserve my opinion on
Joe's statement about: "two notes that are justly tuned make another
note that is lower in pitch and also in tune."  I haven't checked this
on Pat Missin's site yet, though I have read other parts.  While I have
noticed the fullness of chords on justly tuned harps, I have not
noticed anything I would have described as a lower pitched tone.  I
will acknowledge that a just tuned chord is a full sound.  

Octaves also make a full sound, whatever the tuning... 

"An equal-tuned chord is just a chord. "

What I said above applies.  Opinion reserved.  

"An out of tune chord is still an out of tune chord, and while some
people couldn't care less, that doesn't mean it doesn't matter. "

The limits of what is out of tune can be subjective and opinion can
vary as to what is "out of tune".  Some people will tolerate chords
that are a bit harsh to allow melodic playing.  It doesn't mean they
couldn't care less, it means they care more about melody lines and
sounding in tune with other instruments.  

In reference to playing harps tuned to just intonation, one could make
an absolute statement of opinion that: 

A melody line on a justly intoned harp, whether amplified or not, has
notes that are flat and will jar harshly when played with other
instruments.  

You can hear this on some recordings.  

I have and play harps tuned to just intonation (Hering Vintage), some
in compromise tuning (SP20), and some in equal intonation (Lee Oskar,
Delta Frost, and chromatics).  

Each tuning has advantages and disadvantages.  

Back to the original post, I agree with Joe Spiers that the Lee Oscar
chords through the described rig could sound harsher compared with an
acoustic recording of a blues harp.  The harshness could also be caused
by the way it was played and recorded that day, including the recording
mic, the room, the volume levels, the mic/amp match, the cupping
technique, the tubes, etc.  If the recording mic or the recorder's mic
preamp was overloaded and clipping, that could add harshness regardless
of the harp being played.  There are many variables that affect tone.  

I usually lurk because so many on this list answer so well, so fast,
but I just had a little reaction to the absolute truth aspect of Joe's
post.  

I have read his posts in the past and he always seems knowledgable. 
There is truth in what he said, and I will look into Pat Missin's sound
files as suggested to hear the described phenomena, though I have heard
(and played) a lot of amplified harp already in my life, live and
recorded.  

I posted this time because I tend to react to absolute statements. :) 

PS - In my opinion, the most important factor in having full tone,
whether amplified or acoustic is resonance in your airways.  (my
absolute opinion learned by accident when learning octaves, and
confirmed on this list)


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