RE:[Harp-L] names and spare parts now Suzuki Overdrive grip and use

[Paul Bowering <paul_bowering@xxxxxxxxx>]

Says JRR, 
>...a very good tool that I've found for improving
>them is the Suzuki Overdrive...The hard part is how
>to properly and easily control the chambers--
>indeed, this and this alone are what make it less
>common-place or talked about than I think it deserves
>to be.  I think I'm developing a pretty decent
>technique for this, however, and hopefully by sharing
>it others can try it and see how it works for them
>and maybe give me other ideas as well.

The Overdrive has been on the market for a few years
so it isn't unknown but for those new to harp-l let me
give a plug for this instrument. Yeah, it's relatively
pricey. Yeah, it's difficult to get used to and for
most players won't be their primary choice of harp.
Nonetheless, every player should have at least one in
their bag. Why? It is very well constructed, extremely
airtight and responds better than most every stock
model available. Overbends on the Overdrive are crisp
and clean, dynamics are great and the tone is thicker
than other Asian harps. In addition, I think it
worthwhile to get at least one in support of Suzuki's
willingness to innovate. I don't think they sell many
which in turn removes incentive to improve upon
existing designs. (The same might be said of the
XB-40).

On the down side, dual reed bends are unstable at both
extremes of the instrument's range. While I can hold a
Hole 10 blow bend nicely on other harps this one tends
to suffer from decoupling of the reeds. Overdraws are
also difficult on Holes 9 & 10. There is a
modification to address this but it introduces other
problems. How have you dealt with this JRR?

(This is my overview. Go to Pat Missin's site under
the FAQ for a fuller treatment of all the above points
as well as some other unique applications of the
Overdrive.)

In regards to the actual playing of the thing here
what I do for grip:

The harp sits more forward that usual and is held
between the index finger and thumb with the index
finger resting lightly on the cover holes. The idea is
to have the fleshy part of your finger to cover Holes
4,5,6. Get you knuckle out of the way as best you can.
This will be different for everybody so adjust as
necessary. You may find that your middle finger works
better. 

Next, wrap the right hand around the back of the harp
as you might normally do but curve the fingers more so
that the tips of the right hand fingers are resting on
top of the left hand index finger. When you want to OB
just squeeze tight with the right hand. The result is
that the index finger is pretty much in place for the
three overblows in the middle octave. It just needs
the added down pressure from the right hand fingers to
seal off the vents.

How about Hole 1? Think of a teeter-totter.I use my
right hand thumb to pull down on the top of the harp.
This pushes the other end of the up into another flesy
part of my left hand for OB1.

The interesting aspect of this grip is that it's
actually works better for amplified play than for
acoustic. You wouldn't think so with the added bulk of
a mic and the already inherent awkwardness of using
the Overdive but the mic provides a nice brace at the
back for this more slippery grip.

Even with my above endorsement I must concede that I'm
not commited to this harp. I WANT it to be my main
harp but not sure I can use it to the level that I'd
like. I can play with some fluidity but I'm still not
convinced on fast runs. I'll practice with it a bit
more before deciding.

How 'bout you other Overdrivers? Any more quirks, good
or bad about this harp?

Paul

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