Re: [Harp-L] Customizing Harp Process

["Tim Moyer" <wmharps@xxxxxxxxxxxxxxxxxxxx>]

I've placed some coments in context below:

Matt Smart wrote:
> Since, it is a several month wait for a Spears harmonica and 
> Tim is not making them anymore, I thought I would brush up 
> on my own techniques.  I was putting this together for a 
> fellow player that I am teaching the basics about 
> tuning/customizing.  Would love anyone's input, best 
> practices, missing steps etc. Thanks

I'm still making harps, just not taking new orders.  I've got plenty 
of work, and am looking forward to building myself a new set of 
harps soon.  

> My process for tuning harps....
> 
>  1. Place shop towel/soft cloth on lap and work area.  This will
>  prevent screws from bouncing all over the place.

I would never work on a towel.  I work on a piece of white melamine 
with a good, even light.  Anything that keeps reed plates, combs, 
etc., from lying completely flat and absolutely stable is a 
liability.  

>  2. Take cover plates off, put place plates bottom, and put screws
>  inside of plate.

I don't understand what you meant here.

>  3. Remove reed plates and mark blow plate.

There's no reason to mark a plate unless you're permanently 
separating it from the comb or other key marking and need to refer 
to it later.  For instance, I mark my "salvage" plates so I don't 
have to struggle to determine what key it is later when I'm looking 
for a reed donor.  

In any other case, you can easily tell that a blow plate has the 
reeds mounted at the front of the slots and the rivets lie on a line 
parallel to the edge.  The draw plate has the reeds mounted at the 
back of the slots and the rivets lie on a line that runs at an angle 
to the edges of the plate.  

>  4. Lay piece of sandpaper on flat surface.  180 grade good.  Sand 
>  both
>  sides of comb with figure 8 motion.  Blow with compressed air to
>  remove debris.

If you blow it with compressed air, dust is going to go all over 
your work area, including into your lungs.  I'd suggest using a tack 
cloth to remove dust from the sanded comb.  I also suggest turning 
the comb several times during the sanding to compensate for uneven 
pressure applied because of how the comb is held.  

>  5. Sand backside of draw plate with same technique.

I'm not an advocate of sanding reedplates.  I just think it's 
unnecessary, and it has the potential of creating problems with the 
rivet ends and the edges of the reedslots.  It might be more 
suitable when mounting to a metal comb.  

>  6. Using brass tool, massage reeds so they are flush with plate.

This is the second time in two days I've heard someone refer to 
this, and I don't know precisely what it means.  Though I don't know 
the details, something described as "massaging" with a brass tool 
sounds like it has the potential to weaken the reed.  In my opinion, 
embossing lowers the reeds into the slots adequately, but everyone 
has their own technique.  

>  7. Reshape reed gaps with arc at end.

Again, everyone has their own technique here.  I lean more now 
toward VERY subtle arcing across the length of the reed.  Take a 
look at a Richard Sleigh reed, you'll see the arc is almost 
imperceptible, and those harps perform like a dream.  

>  8. Using socket wrench, penny or ball bearing, carefully run 
>  over ¾ of the reed gap to emboss.  Plink reed after 2-3 strokes 
>  to check.
>  Inspect with light to see progress.

I would suggest embossing before adjusting reed arc.  Since one 
process is potentially destructive to the other, I'd do the emboss 
first so you won't have to go back and check reed arc afterwards.  
Additionally, if the slots is already embossed and lowered into the 
slot, it's much easier to see how much arc you have and want.  

These several tools are not all created equal for embossing.  In 
particular, the ball shape will not extend all the way to the tip of 
the slot.  Plinking is useful for a gross check, and the reed may 
need to be re-centered at that point.  The real test is to see if 
the reed will sound clearly.  You can do this by pursing your lips 
on the plate and drawing air through it.  

>  9. Optional: Polish reeds to remove milling marks.

If you're going to polish, you need to do that first.  Polishing 
requires that the reed be supported across it's entire length.  If 
you've spent significant time massaging and embossing, lifting the 
reed to support it while polishing could potentially undo all that 
hard work.  

>  10. ReTune reeds with tuner.  Then test octaves, chords.  
>  Tune in 20 minute increments. Allow reeds to settle for a 
>  day or two before final tuning.

What's the purpose of tuning "in 20 minute increments"?  Again, my 
opinion, but the purpose of allowing a tuning to sit is not for 
things to "settle" -- a good plinking will accomplish that -- but to 
allow the polished areas of the reeds to oxidize, which will affect 
the tuning.  Polishing exposes the brass, waiting a few days to a 
few weeks allows the metal to oxidize over, which will cause the 
tuning to shift.  This should be done several times over successive 
tunings, each one of which should take less and less "polishing".  

>  11. Roll back cover plates for increased volume (this varies 
>  with model, best on special 20s)
>  12. Do final check of reed gap and performance by holding 
>  with comb and test playing.

In my humble opinion, you can't do a final test of the performance 
or tuning by holding the harp together.  It has to be assembled with 
screws.  One of the greatest influences on the pitch at which a reed 
will sound is how airtight the harp is.  This is something you'll 
only know when it's fully assembled.  And yes, you might have to 
take it apart again to adjust something.  

>  13. Seal comb with chapstick, surgical tape, beez wax or 
>  salad bowl oil.

You should do this as step 5, so that it can cure for the duration 
of the time you're working on the reed plates.  

   14. Screw reed plates back together.
   15. Optional: add screws to plates.

If you're talking about replacing the nails in a Marine Band with 
screws, you need to plan this from the start.  It's a good idea to 
drill the harp before you disassemble it, to preserve the alignment 
of the plates and comb.  I take off the covers, and remove the nails 
along the back, and leave the nails at the ends to hold the sandwich 
together.  Then I drill through the nail holes with a tap drill.  
Then I remove the draw plate, and drill through the blow plate and 
comb in the same holes, with a clearance drill, and at that time 
also drill through the end holes for the screws that mount the 
covers.  Then I remove the blow plate and drill through the nail 
holes again with a larger clearance bit so that there is some room 
to "float" the comb.  This can't really be added as an afterthought, 
since it needs to be done before the harp is disassembled and before 
the comb is sanded and sealed.  

>  16. Put cover plates back on.
>  17. Optional: round edges of comb and plate to remove sharp 
>  edge. Especially helpful for tongue blockers.

Once again, this can't really be added as an afterthought, since it 
needs to be done before the mating surfaces of the comb are 
smoothed.  

Of course, there are about a million other steps that could be 
included, such as rounding the corners of the reedplates, drilling 
through the covers to mount them with screws, polishing the front 
edges of the reedplates if they're exposed, deburring any new holes 
you've drilled in the cover plates or reed plates.  There is also a 
lot of additional detail that could be included, like tightening the 
screws to an even tension.  You've summed up tuning in one step, 
which could probably be the subject of a treatment longer than this 
one.  

One thing about harp customizing that it took me a long time to 
realize is that it's not about steps, individual techniques, like 
embossing or arcing.  It's about process and creating a series of 
steps that produce the best possible product.  Things like polishing 
before embossing before arcing are absolutely essential in 
developing a good product.  You can't go back after the fact, for 
instance, and line up your drilling.  If you don't do the drilling 
as part of the process it won't be right.  It's essential to iterate 
and refine your technique and look for ways to make it easier and 
better.  Making things easier allows you to focus your time and 
energy on things that make the product better.  I used to dread 
rounding comb tines because it was so tedious and took so long.  
Then I bought a filing machine, and it became quick and almost fun, 
and it gave me more time to spend on stuff I enjoy, like tuning.  
After all, it's all about how it sounds.   

I hope this was helpful, and remember, it's just one man's opinion.  
Other people will tell you different things, and that's okay.  
Eventually you'll get comfortable with your own technique.  

Have fun!  

-tim