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



Joe, thanks for the links to Pat Missin's information.  Pat's reference
information brought it back to me, and his mention of "Honey Hush",
from the album "The Siegel-Schwall Band" hammered it home. That was a
great use of that effect with amplified harp, and I have had fun
replicating it.  The information on how the human ear processes the
audio information to hear difference and summational tones was
interesting, too, and is a good explanation of why Just tuned chords
are fuller and sweeter.  I could barely hear the difference tone on
Pat's example links.  I will have to listen more closely in the future.
 I tend to play a mix of blues, early rock, country, soul, and
occasional jazz.  Since I play more melody lines, I may have neglected
chording in recent years.  That is what's great about harp: you never
run out of things to work on.  

Tim's information was helpful as well: Tim is another very well
informed poster.  I now plan to experiment the next opportunity I have
to practice amplified at home (ie, when my family is out), and check
the differences in Just and Equal chords through an amp.  Or I just may
switch between harps at my next gig...

While I have been neglecting chords, I frequently play octaves on
diatonic and on chromatic to comp.  On chromatic, I use often use
octaves during solos (sometimes on diatonic, though I find it a little
trickier to get clean octaves soloing on a diatonic due to the changes
in tongue block from blow to draw after the first octave).  

I am familiar with "beats".  On chromatic, even when the octave
frequencies are in tune, you can deliberately create and stop "beats" 
through varying pressure on the reeds. "Beats" are useful in tuning
guitars, and harps, as well.  

Harp-L is a great source of information, and I have lurked for a long
time, mainly because so many knowledgable people provide so much
information.  

I hope Rainbow Jimmy figures out what was up with his recording!

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