Re: Re: [Harp-L] Current Hohner reeds

[David Payne <dave@xxxxxxxxxxxxxxxxxxxxxx>]

Tim, 
You've known me for a few years, at least via-internet, and I'm thankful that in my young pup days several years ago, you and Douglas Tate were the two biggest influences I had teaching me the very first things I ever learned about customization. When I learned the importance of plinking years ago, it may very well have been from you.. So, I assume your reply was more for the general Harp-L reader who is looking at this wondering what this stuff is all about. It's always good to keep those people in mind and it is true you can never plink too much. 

I am, though, talking specifically about the new Marine Band reeds. I don't have this problem with Seydel, the decent Herings, Suzuki, prewar Marine Bands, 20th Century postwar Marine Bands, old F.R. Holtz, etc. 
I probably should have better clarified what I was doing to the new MBs. The old Marine Bands were among my all-time favorite harps. I played Marine Bands for 25 years (from age 5 to 30). Some of the MBs I got around 2002 would play as well as prewars, but I'm not happy with this new Marine Band.
 It's only my opinion, but even after a bazillion plinkings, the new Marine Band reeds still suck. 

Dave
_________________________
Dave Payne Sr. 
Elk River Harmonicas
www.elkriverharmonicas.com 


David Payne wrote:
> I can't get [Hohner Marine Band reeds] to take an adjustment. 
> I'll set one up, play it for a while, come back later and the 
> gaps are helter skelter, usually one is way wide. 

The secret here is to iterate, iterate, iterate.  You have to make an 
adjustment, plink it a little to let it settle, readjust if 
necessary, and continue this process until it settles into the right 
place.  Then play it, check it again, adjust if necessary, play it 
again, etc.  It's tedious, but eventually it'll settle into its 
rightful place and stay there.

> After you emboss, arc, etc., there is so little difference 
> between what you started with and what you end with, it is 
> not worth all the work involved. 

It's those little differences that make all the difference!  
Embossing and arcing can really help the reed to continue to start 
properly and not choke when the gaps are set down very low.  This is 
essential when you're overblowing/overdrawing, less essential if 
you're not using those techniques.  For many (most?) players, the 
difference in performance can be more of a liability than an asset. 

-tim



_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l