[Harp-L] RE: 4 Hole Reed Failures

[Glenn and Debbie Woodhouse <gwoodhouse40@xxxxxxx>]

Thanks to the many who responded to my post.  It is clear that I am not alone with this problem.  For those of you who responded with well articulated techniques for finding that sweet spot on the bend, I'm sure you have helped many more readers than just myself with your responses.  After 25+ years of playing at home, the occasional jam session, and the rare gig, this last year has been a phenomenal year of growth thanks to resources like Harp-L, the many YouTube instructional videos out there (Adam Gussow, Chris M -Buddha, Jason, Jon, and more), David Barret's resources, total immersion in listening to harmonica intensive recordings (LW, Butterfield, William Clarke, Billy Gibson, old J. Geils/Magic Dick, Mark Hummel, RJ Mischo, Gary Smith, and many many more), just playing more, and the motivation that ongoing paying gigs provides to keep working and improving.
 
This last year has brought me tongue blocking, octaves, throat vibrato, more "breathing" of the harp as Iceman and others frequently and rightly emphasize, a better understanding and usage of positions beyond 2nd, and how to be a better band member (leaving space, knowing when not to play ;) ).  The exciting thing for me is that after being entirely self taught and "shrouded in darkness" for the last 25 years, I know the progress I made this year is just the beginning and I have much room for improvement in the above mentioned techniques as well as many more, and there are resources and help to get me there.  I am happy with my playing and progress but even more excited with the potential that lies ahead.
 
After reviewing everyone's theories and suggestions I don't think I am a particularly "hard player" but I have nothing to compare to and clearly this is a key element to the reed failures.  I think it comes back to the precision of my bending and that my blues style uses the 4 bend heavily.  I probably use the 2 bend equally to the 4 but have never experienced a failure on the 2 blow reed (longer reed, less concentrated stress??).  To me, the Bushman reeds have a more responsive delicate feel to them, like less force is required to bend.  Part of the problem may be my continuously switching from the Lee Oskars for my "odd" keys (natural minors and some flats), to the Bushmans, to the 1847's.  I have noted that I am more likely to unintentially bend to the "floor" on the Bushmans.
 
The way my band is set up with a very nice Bose PA system and no "Guitar Hero" egos, rarely have I felt that I was competing to be heard, often it is the opposite case where I find myself throttling back on the harp volume.  I do know that I have caught myself during the adrenalin of certain live high energy solos playing too hard (the choking of blow notes is a little hint!).  Regardless, I will continue to focus on playing lighter to improve the dynamics of my playing with the side benefit of trashing fewer harps.  I will be more cognizant of my bending precision and associated note accuracy and work on this.  "I'm a good person and dog-gone-it people like me" (for those Saturday Night Live Stuart Smally 12 step program fans). 
 
Finally, I think the Bushman phosphor bronze reeds have served as the canary in the coal mine for my poor bending form.  This is not a slam on Bushman.  This is only based on the failure rate I have experienced while playing two other brands in equal amounts with equal (but unintended) "abuse".  I have read several comments from members who think their Lee Oskars last and unusually long time which generally has been my experience as well (brass - why?).  I checked the archives and found good discussion from Vern and Smokey Joe that basically concluded that SS reeds should last longer but the differences in the mechanical/fatigue properties of the various brass and phosphor bronze alloys should not be significant.
 
Again thanks to the Harp-L community, rather blunt or nurturing!
 
Glenn.> ------------------------------> > Message: 12> Date: Sun, 21 Dec 2008 11:00:10 EST> From: IcemanLE@xxxxxxx> Subject: [Harp-L] 4 Blow Reed Failures> To: harp-l@xxxxxxxxxx> Message-ID: <c87.41ef167a.367fc20a@xxxxxxx>> Content-Type: text/plain; charset="US-ASCII"> > Breathe the harmonica rather than blow/draw -> > The second factor is bending past the point of bending - in other words, you > may not be aware that there is a range of pitch available for any bend, with > a definite bottom (or "floor") - regardless of whether it is an inhale or > exhale bend. Try to develop a feel for when the pitch has stopped its bending > movement and recognize this as a definite point at which you don't wish to push > any further. Actually, a sweeter bend tone can be achieved by recognizing > this end point and stopping a little before you reach it, as I describe as > "floating a foot above the floor of the bend". This can become a subtle tactile > sensation to where you can feel it out.> > There is also a way to understand the bending technique and refine it to > moving a "sweet spot" in the tongue a very minimal amount to receive maximum > effect, becoming a very subtle maneuver rather than a throat engorged jaw > dropping tongue curling endeavor.> > Most unenlightened just tend to SUCK or BLOW on down to the max with no > finesse, stressing the reed beyond any reasonably efficient return for the energy > or effort engaged, resulting in blowing out reeds and/or creating notes that > are way on the flat side.> >