Re: [Harp-L] Seydel 1847 overblow-friendly

["Ludo Beckers" <lazylew@xxxxxxxxx>]

Ron replies:
<<Ludo, no I didn't mean embossing. When u say u chamfer the slot ends,
please tell me what do u do with the file Is there a website or somewhere
where i can see this in action?

The www.overblow.com and the other site that Fernando mentions have pictures
of it.
Also in reply to Rick, it is a paradox, yes :-)
It benefits several things though:
-it takes away some of the shrillness in sound that embossing can cause
-it helps the reed stay more stable in order to avoid squealing OB's
-you can gap closer to the reed
The term has come up several times on Harp-L in the past.
It was Rick Epping who explained me the difference between tip scooping and
chamfering; the latter is done on the side of the reedplate where the reed
is and scooping on the other.
Originally they were terms used by accordeon tuners/repairers I believe.

<<Did u see my post a few months ago, called, "Poor Man's Embossing
Station"?

Yes I did.
Instead of the light-box you describe, I simply use day-light.
I always sit faced towards my window and use double spectacles (ain't THAT a
poor man ;-))

<< Fwiw, when i seat the reed into the slot at the rivet end, i support the
free end with a feeler gauge slid in about half the reed's length. Then I
take my Wegen guitar pick and stroke the reed near the rivet - very very
close
to the rivet.

Rick Epping showed a similar method on a workshop - he uses his fingernails
to push in the reed and then holds the reed between finger and thumb to push
it back at the point where the reed goes in the plate.
I've tried it for a while, but am not too handy at that so I stick to simply
pushing it in with a tooth pick.
It's too easy to bend the reed too much, which often happened to me.
For embossing a socket wrench seems a very good idea, since it will pass
along the slot for a greater length (I think it was Tim Moyer who mentioned
that long ago) but I'm so used to the tuning fork, it does a good enough job
for me.

Ludo