Re: [Harp-L] so what does matter?

["Vern Smith" <jevern@xxxxxxx>]

----- Original Message ----- 
From: "Frank Evers" <frank@xxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Saturday, November 03, 2007 10:07 AM
Subject: Re: [Harp-L] so what does matter?


> Am Freitag, 2. November 2007 schrieb Vern Smith:
> > Then, don't worry about the many popular myths and superstitions
> > (e.g. "wood sounds warm") about harmonicas.
>
> Vern, so you deny any influence of materials on the sound of
> harmonicas (and i mostly agree), but how about the shape of covers
> and comb? (writing of comb i'm thinking especially of the difference
> between chrome and harp and probably the XB40, that plays like a
> harp, but sounds like a chrome)

The internal shapes of the sound passages may have some very slight 
influence.  Although I don't know of any blind comparison, some think that 
the CX12 is slightly louder than the 270.  I go back to the fact that you 
can blow or draw a sound from a bare reedplate that is as good as (or 
arguably better than) that from a fully assembled harp.  This is evidence 
that the comb and covers are not important to the production or transmission 
of the sound.

The XB40 may sound different because it has two reeds for every note and not 
because of differences in the comb or covers.  My Hands-Free-Chromatic (HFC) 
demonstrates that when you eliminate leakage through the slide, there is 
hardly any difference in tone between a chromatic and a diatonic.

I speculate that the amount of breath lost through small leaks is virtually 
undetectable to the player.  However, the loss of resonance in the combined 
reed chamber and embouchure can be devastating.   i.e. you are leaking 
sound.

Vern
Visit my harmonica website www.Hands-Free-Chromatic.7p.com