Re: [Harp-L] PT Gazell is the man, now MB tuning

["Dan Berger" <dberger1@xxxxxxxxxx>]

That answers my question to Steve, thanks!

Dan
----- Original Message ----- 
From: "David Payne" <dave@xxxxxxxxxxxxxxxxxxxxxx>
To: "Harp L Harp L" <harp-l@xxxxxxxxxx>
Sent: Monday, November 10, 2008 8:26 AM
Subject: Re: [Harp-L] PT Gazell is the man, now MB tuning


Steve,
I understand exactly what you're saying and the tuning is the reason for it. 
I think what you are talking about is the 2 draw and 5 draw octave, or more 
precisely, a seventh.
It's the relationship between that G on two draw and the F on 5 draw. If 
that F is say 15 or 20 cents lower than the G, you start getting this 
tension-filled ring and roar sound, that I think is what you mean on that 
one. The Hering 1923 ought to sound even better, it's, as far as I know, is 
17-limit Just tuned, while that 5 draw is a little sharper on the Marine 
Band.
If you flatten thet 5 draw on another harp, Steve, you should get a similar 
sound.


Dave
_________________
Dave Payne
Elk River Harmonicas
www.elkriverharmonicas.com



----- Original Message ----
From: steve warner <10reedsbent@xxxxxxxxx>
To: harp-l <harp-l@xxxxxxxxxx>
Sent: Sunday, November 9, 2008 10:55:22 PM
Subject: Re: [Harp-L] PT Gazell is the man

Hey David,
Since you build harps I've got an octave Q for you.

I just love the 3 hole tongue block draw octaves, but to my ears it seems
those who I know for a fact that use the 1896 Marine Band, they just seem to
get a better sounding octave that's fuller and fatter in that register.
What I'm talking about has nothing to do with the player because I hear
virtuoso players who don't use the 1896 and they just don't seem to have
that fat sounding octave. Musslewhite is one grand master who doesn't get
that fat octave like I'm talking about. You understand what Im saying,
right?

The Lee Oskars have thin sounding octaves, the Hering 1923's are fairly
thin, the Special 20's which I use have thicker octaves but not like the
wood bodies. I haven't ordered any replacement MS reeds in years, so I
don't know if they sound like the 1896's do.
There's also a nice distinct reed flutter when it's hit just right that I
don't hear on nearly all other harps. You hear it in William Clarke,
Piazza, Johnny Rover, Harman, San Pedro Slim, Gruenling, and of course the
octave guru George Smith as well as many others. With many harps the reeds
just seem to blend together without the ''separate'' tonal character that
each reed presents.
I know the Hering 1923's have slightly thicker reeds than the 1896's do, so
I'm not sure if the reed thickness is what determines what I'm referring to
but rather the way the reed is made....stiffness, alloys added......?

Your opinions because I may switch to woods, which I'm not too fond off for
my playing style.
thank you

> Dave Payne Sr.
> Elk River Harmonicas
> www.elkriverharmonicas.com
> _______________________________________________
> Harp-L is sponsored by SPAH, http://www.spah.org
> Harp-L@xxxxxxxxxx
> http://harp-l.org/mailman/listinfo/harp-l



--
steve
www.thunderharpmics.com
fattest tone on earth!
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l

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