[Harp-L] Seydel 1847 ( was U-block)

moandabluz@xxxxxxx · Fri, 18 May 2007 00:57:59 -0400

   After letting my Seydel in A sit for awhile... I took it apart 
yesterday and tried to smooth the draw reed plate edge with some fine 
steel wool. It made it better, but it's stilll not a harp I will use 
much. Don't get me wrong, it's a good harp. While I had it apart, I 
opened the gaps on the blow reeds 2-3-4 and that made it play much 
better for me.

  I guess it's just me, because I have the same issues with the one 
GOlden Melody that I own, That bottom reedplate edge is too hard on my 
lower lip. I'm too used to the plastic sp20s and Bushman harps.

  I think I'll bring the Seydel to SPAH in Milwaukee and see if I can 
sell it to someone for a bargain price. I've played it for about 10 
minutes so far.

 Steve "Moandabluz" Webb

a fool for the harp in Minnesota
-----Original Message-----
From: staggerin@xxxxxxxxx
To: harp-l@xxxxxxxxxx
Sent: Thu, 17 May 2007 7:43 PM
Subject: Re: [Harp-L] Who u-blocks
  Hi AllÂ

Â

 Up until about ten years ago, I was primarily a U-blocker - using 
T-blocking of course for splits, and pucker only when I wanted to free 
up my tongue for an effect.Â

 Since starting seriously on Old Time (fiddle and banjo, stringband 
type stuff) at that time I reversed the percentage and mostly T-block 
and now use U-block more for overbends or for when I actually want to 
avoid splits.Â

 I agree with Tom that U-blocking is pretty great for getting access to 
a lot of notes without a lot of visible external movement, especially 
energy-efficient for playing in a rack.Â

Â

 Also like Tom, I've got to sing the praises of the new Seydel 1847 for 
tongue embouchers. The steeper and very smooth cover plates make for 
the best lip glide (and allowing greater relaxation) of any harp I've 
got. The 'radiusing' (borrowing a term from fretted instrument 
fingerboards) of the comb and the chamfering of the comb-teeth combine 
to make more fluid movements of the tongue with less drag.Â

 BTW the illusion of 'roundedness' of the holes comes from this 
bevelling of the 'radiused' comb-teeth.Â

 Besides the other design features of the harp, it seems special 
attention was paid to make an enhanced platform for tonguing. I'm 
entered in a contest this Sunday and need all the confidence I can get 
<g>Â

Â

Cheers,Â

Staggerin' JimÂ

 Listen to Roots Harmonica at 
http://www.live365.com/stations/staggerinjimÂ;

Â

 ----- Original Message ----- From: "Tom McGovern" 
<tmcg@xxxxxxxxxxxxxx>Â

To: <harp-l@xxxxxxxxxx>Â

Sent: Thursday, May 17, 2007 4:25 PMÂ

Subject: [Harp-L] Who u-blocksÂ

Â

I, too, am primarily a u-blocker. I always have been, since IÂ

self-taught in the late 1960's. I never really thought about it untilÂ

the discussion came up a harp festival a few years ago. I find that IÂ

can get great range with the tongue movement up and down the harpÂ

without moving it. One of my "parlor tricks" is to put the harp in myÂ

teeth, no hands, and play a bit of a fast boogie-woogie bounce withÂ

cords thrown in, in second position, including a one blow and six blowÂ

single note. It's fun and a good way for me to help explain to new andÂ

 non- harp players how important tongue position is in playing. I think 
IÂ

get pretty good tone u-blocking also. There are negatives, though.Â

 I've always had trouble doing octaves, as the tip of my tongue won't 
layÂ

flat up against the harp. I'm convinced there is no right or wrong wayÂ

to play the harmonica. If it sounds good, it's right.Â

Â

Â

 As a follow-up to my earlier post about my Seydel 1847's I was bring 
onÂ

the cruise with our band, I'm pleased to say they not only held up toÂ

some salt-air drenched (and too many boat drinks) heavy playing, theyÂ

still remain my favorite harps. Thanks, Rupert, for bringing them toÂ

the Buckeye.Â

Â

Â

Tom McGovernÂ

Â

www.airmargaritaville.netÂ

Â

Â

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