Re: [Harp-L] Seydel 1847 stainless steel reed harmonica




On Apr 16, 2007, at 8:56 PM, Rick Dempster wrote:


.....Just a thought on this remark: I've often thought wood combed
harps sounded different to plastics. However, I've come to the
conclusion that the reason is exactly as stated above.

Same here. For years I disagreed with Vern Smith on the subject of combs. It turned out that I wasn't disagreeing with him. I felt I was getting a different sound between the two and it turned out to be a combination of several things.
1... My chromatics were all old and wood and had a particular sound.
2... I got a new plastic combed chromo (same model, same key). It sounded different.
ergo. Between the older chromos being 'broken in', had swelled combs, more gunk in the nooks and crannies, they were softer, had less volume, and bent and slurred easier. Also, I had changed out the springs with safety pins.
3... My diatonics were all old, They were responding to me because I played them the same way for years. Newer diatonics sounded different. They were louder and brighter, and took some play time to get them to hold a bend in the position(s) I wanted.


I have fallen into the habit of deliberately using a slightly
leaky harmonica on some tunes because I want a light, reedy sound. Note
that when I say'slightly leaky', this may simply mean harps with more
offset to the reeds.

I will be doing that on ONE tune at the Buckeye Harmonica Fest next week. I will use TWO chromos on the same tune. They are BOTH same key, same model. One is old (wood) and will be used for the sweet ballad part. The other is new (plastic) and will be used for the jazz waltz part.


The harps that I have adjusted for overblowing sometimes do not
produce the sound might I want on a particular song.

Exactly, that's why you pros need to carry 18 standard, 18 special tuned, 18 minor, and 18 custom set-up harps.
MINIMUM six dozen


smokey-joe


Regards, Rick Dempster Melbourne, Australia





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