[Harp-L] Hering Free Blues harmonica

Billy Frank <billyfrank_w@xxxxxxxxx> · Mon, 27 Aug 2007 10:47:28 -0700 (PDT)

Hi All,

  I have been playing the Hering Free Blues harmonicas for about a year now. They are only $11.00 and I love them. Anyone have any comments on them? I am thinking about buying a Hering chromatic. Any comments as to which one? Are the chromatics recommended?

  Bill
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Today's Topics:

1. Re: Seydel vs. OTC harps (Rick Dempster)
2. Re: Loud? (Rick Dempster)
3. Re: Blues harp of choice (jazmaan@xxxxxxxxxxx)
4. Re: Re: Blues harp of choice (BiscuitBoy714@xxxxxxx)
5. Harpers' International Giglist Reminder (BassHarp)
6. Re: The birthday present (MY opinion) (Slim Heilpern)
7. Re: middle of tongue wag - rake and shimmer techniques
(Rick Dempster)
8. Re:Tongue flutter (Captron100@xxxxxxx)
9. Re: Reed embossing with a penny, Richard's way
(Joe and Cass Leone)
10. New "Old" Guy (jon harl)
11. Blog again... (jon harl)

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Message: 1
Date: Mon, 27 Aug 2007 10:51:59 +1000
From: "Rick Dempster" 
Subject: Re: [Harp-L] Seydel vs. OTC harps
To: "Richard Hunter" , 
Message-ID: <46D2ACCE.7C8A.0066.0@xxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII

Richard;
When you write of overblowing Lee Oskars, I assume you
have 'done something' to them. I only have to look at an LO harp for my
ears to start ringing with the high-frequency squeal of an ailing
television set, which, to me, LOs seem to produce even when they're not
being subjected to overbending.
How do you deal with this?
RD

>>> Richard Hunter 25/08/2007 9:06 >>>
The Seydel Blues Soloist Pro in Db that I bought at SPAH is an okay 
harp, not a mind-blower. It's not enough better (if any) than a Lee 
Oskar to make it worth the price difference, in my opinion.

The Seydel 1847 that I bought at SPAH is amazing for a mass
manufactured 
instrument. It's the loudest and most responsive G harp I ever owned.

I purposely bought a G because it seems to me that problems with

harp designs tend to show up strongly in the lower keyed instruments 
(and not coincidentally, I never seem to be confident in my G harps). 
This thing barks as hard or harder in the low end as any harmonica I've

ever owned. It sells for $80, but I can certainly tell the difference

between it and a $25, $35, or $50 harp.

Both these impressions are based on a single instrument, and therefore

are not statistically valid. So try for yourself. But I'd spend the 
$80 and get the 1847 first, because it makes a useful yardstick for 
everything else.

On the other side of the price divide, the $16 Suzuki Harpmaster in A 
that I bought at SPAH is a responsive harp with a decent, big tone, and

it's holding up pretty well under prolonged playing. Its only apparent

weakness is that it doesn't overblow very well, certainly not as well
as 
my Lee Oskars. Otherwise, I wouldn't hesitate to take it to a gig.

Regards, Richard Hunter
hunterharp.com
Latest mp3s always at http://broadjam.com/rhunter 

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------------------------------

Message: 2
Date: Mon, 27 Aug 2007 11:08:32 +1000
From: "Rick Dempster" 
Subject: Re: [Harp-L] Loud?
To: , "Daniel Bernard" 
Message-ID: <46D2B0AF.7C8A.0066.0@xxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1

Daniel;
I can certainly sympathise with you on this score. I'm pretty weak on the chrom. despite having put in a fair bit of effort; learned all my scales, arpegggios; learned a stack of tunes and practised them in all keys etc. etc.
But I always had reservations about the tendency of the instrument to sound 'antiseptic' or mechanical, even in the hands of very good players.
Then again, every now & then I hear a chromatic that I mistake at first for a clarinet; I heard a Toots Theilemann track recently, one from quite early in his career, I think, that had this quality.
Stevie Wonder's tone is anything but antiseptic, and his playing seems to transcend the 'mechanical' qualities of the instrument.
I think that any serious harp player needs to give the chromatic a fair go, because it is just the most practical answer to the limitations of the diatonic, and has an ever growing body of players, recordings, written works (speaking of the 'classical' school) to the extent that it can't easily be ignored.
I suspect, speaking for myself, that the difficulties I see should just be regarded as challenges (how to produce the sort of sounds I want on this instrument?)
Look for sounds on the chrom. that appeal to you, and try to envision you own ideas about how it should sound.
Now all I need to do is set about getting one of my chroms. in decent working order again and try and work it into one of the acts I play with.
I'll report on any progress, but don't hold your breath!
RD

>>> Daniel Bernard 25/08/2007 12:32 >>>
Just about anyone I´ve herd recorded can play the chromatic better than I can. 
I have no idea about technique. It isn´t a question of air tightness. I know
it isn´t that. If anything my single notes play like a machine without any 
input from me other than blowing and drawing air. I honestly have never herd 
anyone play the chromatic live, so maybe I´m imagining it. But the recording 
artists, pro and amateur, flat out play better single notes than I do. Forget
how I play. I´m awful. The harmonicas I´ve herd recorded sound much better 
than any of the four I own. Single notes, chords, short, long, hard, soft. 
I just can´t get a good sound out of them. I feel like I´m playing the role 
of air compressor. I have no idea how techniqe can change the sound that
comes out of a chromatic. The notes are pretty much monotone. Fight the
reeds resonant frequency with oral resonance? I wish I knew how!

____________________________________________________________________________________
Pinpoint customers who are looking for what you sell. 
http://searchmarketing.yahoo.com/ 

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Message: 3
Date: Sun, 26 Aug 2007 18:13:14 -0700 (PDT)
From: "jazmaan@xxxxxxxxxxx" 
Subject: [Harp-L] Re: Blues harp of choice
To: harp-l@xxxxxxxxxx
Message-ID: <939887.35845.qm@xxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1

My personal choice for amplified blues would be Hering Vintage because of its just intonation. 
When you're playing amplified you can really hear the difference (no pun intended) in the
"difference tones" you get on a just intoned harp. It sounds fatter and more like "The Tone" you
need for that style.

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Message: 4
Date: Sun, 26 Aug 2007 22:42:09 EDT
From: BiscuitBoy714@xxxxxxx
Subject: Re: [Harp-L] Re: Blues harp of choice
To: harp-l@xxxxxxxxxx
Message-ID: 
Content-Type: text/plain; charset="US-ASCII"

Me, I play Special 20's unless there is a harp emergency. Amped, natchel', 
whatever, 'cause they fit me. I did however do a gig in May down in the city 
and a guy sat in with me that played Lee Oscar's but had one Delta Frost. I 
could tell the difference between that Delta Frost and the Lee Oscars. It had 
more b....... backbone, yea backbone (I almost slipped) He played with a tube 
pre amp and pushed it for grit and I played straight thru the board. We both 
sounded good, depends on what your looking for.

Randy

BiscuitBoy Blues

************************************** Get a sneak peek of the all-new AOL at 
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Message: 5
Date: Sun, 26 Aug 2007 22:48:28 -0400
From: BassHarp 
Subject: [Harp-L] Harpers' International Giglist Reminder
To: harp-l@xxxxxxxxxx, Harp Talk - Coast to Coast Music

Message-ID: <46D23B7C.7000404@xxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Those wishing to be included in the Harpers' International Gig
Listings, or who have additions/deletions since last Wednesday's
internet post, please forward updates to me by

DEADLINE: 12 NOON EDT WEDNESDAY

for next Wednesday's internet post. Thank you.

Listings received after noon on Wednesday may or may not be
included in the weekly update to Harp-L.

Email: bassharp@xxxxxxxxxxxxx

This list is designed for, and dedicated to, the promotion of
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With apologies to other groups, we are not able to accept
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Due to time constraints, we are unable to access all the various
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thank you all very much.

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Message: 6
Date: Sun, 26 Aug 2007 20:13:02 -0700
From: Slim Heilpern 
Subject: Re: [Harp-L] The birthday present (MY opinion)
To: harp-l@xxxxxxxxxx
Message-ID: <46D2413E.6030302@xxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

Thanks Joe for the kind words (and Penny says thanks too!). I'm so 
thrilled that you like the album and it was so great to finally meet you 
at SPAH and have a chance to play music together! Coming from such an 
excellent player as yourself, I'm practically speechless. Having made it 
to the top of your personal list, even if it turns out to be very 
short-lived, is something I will treasure always.

For anyone who's interested there are (still) full length samples that 
you can get to through either of our websites (www.pennyhanna.com or 
www.slidemanslim.com) and the actual CD is available via cdbaby: 
http://cdbaby.com/cd/smsph

And yes, list member Steve Malerbi does fit into the equation -- he's 
done a great job on my instruments (and he's a hell of a chromatic 
player himself, as I found out at SPAH).

- Slim.

Joe and Cass Leone wrote:
> You could go to his website for samples. I think it may be under 
> Penny's name. Did I mention that Steve Melerbi is Slim's harp 
> technician. Steve has hands of gold as I have played the 64 super X 
> and have never had one as responsive and sweet as his. Now I know that 
> most everything comes from the player, BUT it sure helps a superior 
> player to have a superior chromo, so, Steve HAS to have fit into the 
> equation somewhere. My opinion
>
> smokey joe & the Cafe s; this evening at 'The Lighthouse' Shell Point 
> Marina, Sanibel Causeway, Ft. Myers Fla. 7-10
> Bring a co-signer, bring your pink slip, aww he!!, stay home and save 
> a bunch of money, OR...you'll laugh, you'll cry, you'll kiss 95 bucks 
> goodbye. :)
>
> On Aug 26, 2007, at 2:19 PM, Fernando Bresslau wrote:
>
>> Wow, Joe!
>>
>> That's a statement! And done with the eloquence we love!
>> I'll check Slim closer after classes have started.
>>
>> All the best,
>> Fernando
>>
>
> _______________________________________________
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>

------------------------------

Message: 7
Date: Mon, 27 Aug 2007 13:26:13 +1000
From: "Rick Dempster" 
Subject: Re: [Harp-L] middle of tongue wag - rake and shimmer
techniques
To: "d d d" , "Michael Rubin"
, "Winslow Yerxa"

Message-ID: <46D2D0F5.7C8A.0066.0@xxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII

Michael;
I use this technique quite a bit (I mean a fast tremolo
blocking 1,2, 3 or more notes in between) I started doing it after being
inspired by Gwen Foster's recordings.
One of the excercises I used (and still occasionally use
it as a piece of 'showboating') is a lick I learned from a piano player,
who in turn learned it off the piano of Jerry Lee lewis (boy! this is a
pretty odd influence for harmonica!)
Jerry does this left-hand boogie bass (Fats Domino uses it
too; check out his version of 'Swanee Rive'r, which in turn came from an
earlier player...Ammons? Archibald? I forget)
It goes (key of G) G D G E repeating (rhythm is '& 1& 2 & 3
& 4') then to the IV chord: C G C A etc
You can do it on the harp thus: 
6B 8D 6B 8B then : 7B 9B 7B 10D- the V chord requires
a bend on hole ten; I haven't really bothered with it.
On the octave below it's:
3B 4D 3B 5B (I Chord) then (IV chord)4B 6B 4B 6D
then (for V chord) 4D 6D 4D 7D
You can play it as eighth note triplets for a
time-shifting effect, rather than just a boogie bass line thing.
Sorry if this isn't very clear, but I think it was really
good practice for me in this technique.
I find that I am using ther UNDERSIDE OF THE TONGUE (not
yelling here; just v. important) and tongues contact with the harmonica
is not as important as one at first thinks; it is more a case of the
tongue's being to the mouth-aperture what the slide is to then
chromatic; you are blocking the mouth as much as the harmonica.
Also, yes, the middle and back of the tongue drive the
action, but the front (note I do not say 'tip' as it is more like an
expanse of 'edge')
of the tongue does not always stay immobile; it just doesn't move as
much as the middle/back.
This means that you can be accurate with the front of the
tongue; it doesn't need to move much and can use the instrument as an
'anchor' point.
It's a bit like massaging a sore spot on the body by
pressing the spot with the point of a finger, then waggling the
forearm.
In closing I might just add that I have been through this
before in reply to an 'offlist' inquiry regarding my attempt at Gwen
Foster's 'Black Pine Waltz' (posted on
http://www.buddhasgarden.net/index.php?topic=859.0) and would just
like to echo another poster's sentiments regarding making posting to
harp-l the rule rather than the exception. 
Unless I'm discussing something that would be better not
posted on-list, it's best to keep the king of discussions/info like the
above, public, in the spirit of sharing which harp-l has always been an
examplar.

Rick Dempster
Melbourne,
Australia

>>> Winslow Yerxa 26/08/2007 13:00 >>>
Michael - 

I can't tell for sure whether or not you're talking about rapidly
alternating between a note on the right side of the tongue and a note
on the left side, with the hole(s) in between blocked out (I use the
term "shimmer" for this).

If that's what you're talking about, then there's an easier technique
that may help you build coordination toward the shimmer.

One good thing about the shimmer is that it allows you to isolate a
pair of notes far apart without including the notes in between. Maybe
the two notes fit a particular chord while the in-between notes do
not.
Or maybe it's just the particular "rry" texture of alternating two
distinct note that you're after.

The easier technique is one I call a "rake." To do the rake, get three
or four holes in your mouth. You apply the tip of the tongue to the
harp, but you don't try to root it down in one spot. Instead, you let
it glide, or rake, from side to side. When your tongue is on the right
side, one or more holes on the left are exposed. When your tongue is
on
the left side, one or more holes on the right are exposed.

The rake is a "wetter" technique than the shimmer, because by default
it exposes two holes at a time and includes all the notes in your
mouth
if your mouth is covering three or four holes. 

However, it is possible to get a clean shimmer with a rake when
covering three holes. Here's how.

Cover three holes with your mouth and two with your tongue. When the
tongue is to the left, one hole is exposed on the right. Move your
tongue to the right, and it uncovers one hole on the left.

Now, if I go to a shimmer covering a total of four holes, I can do it
one of two ways.

The first way would be to just use the rake technique but widen the
tip
of the tongue to block three holes instead of one and rake this back
and forth, alternating between the leftmost and rightmost hole.

However, I find it a little easier to get a clean, assured alternation
and to save motion by rooting the tongue in the two middle holes and
just sort of bulging it outward to the right or left to isolate one
hole or the other.

Here's an exercise that may or may not help.

Play an octave i Holes 1 and 4, blocking out Holes two and three. The
tip of your tongue is rooted to those middle holes.

Now, let Hole 4 keeps sounding and shut of Hole 1. Don't move your
face
or your lips. Don't move the tip of your tongue off Holes 2 and 3.
Just
let your tongue bulge a little to the left. Concentrate on just doing
this motion. You'll be alternating between playing an octave and an
Isolated Hole 4.

Now go back to playing the octave. This time concentrate on letting
Hole 1 keep sounding while you bulge your tongue out to the right to
block out hole 4. Don't move the tip of your tongue off Holes 2 and 3,
and don't budge your lips or your face. Alternate between an octave
and
isolated Hole 1.

Practice these alternations between octave and isolated note on the
left and on the right. Build up a little speed. Then combine right and
left. Do it first deliberately at a slow speed, then see if you can
just turn it on and let it go at an unmeasured speed.

Hope this helps.

Winslow
--- Michael Rubin wrote:

> Both Joe FIlisko and James Conway have shown me this and tried to
> explain it but I am confused.
> Apparently, you play an octave with the tip of your tongue. You
> hold the tip steady on the harp. The middle of your tongue wags
left
> and right and you get a cool flutter.
> 
> My tongue won't stand still. I have practiced by putting the tip
> of my tongue on the back of my bottom teeth and wagging the back of
> the tongue left and right, touching the molars with each wag. Then
I
> try it with the harp and all sorts of uncoordination occur. Help?
> 
> This is not a tongue switch, I can do that.
> 
> Michael Rubin
> Michaelrubinharmonica.com 
> _______________________________________________
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------------------------------

Message: 8
Date: Mon, 27 Aug 2007 00:03:30 EDT
From: Captron100@xxxxxxx

=== message truncated ===

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