Re: [Harp-L] Overbends on tremolo harps and the Discrete Comb

[David Payne <dmatthew@xxxxxxxxxxxxxxxxxxxxxx>]

The video where I overblow a Seydel Shanty tremolo (as promised I'd post) has been uploadified:
http://www.youtube.com/watch?v=F2AnqfqRxY0

On the discrete comb, the basics have been there for, mercy, prolly 150 years. Somewhere, deep in recesses of the Elk River Institute for Advanced Harmonica Studies museum/lair/whatever, is a mouse ear Hohner, probably from about 1915. I might have lost it in a move, I haven't seen it in a long time. But the important thing is, I remember what it looked like. It had a pearwood discrete comb, but it was NOT a double reed instrument. It is a hell of a lot cheaper/easier to make a regular comb than it is a discrete comb and it would have had to up the price. Makes you wonder what folks were doing with them back in those days that they'd shell out the extra smackers to buy them.

Dave
____________________________
Dave Payne Sr.
Elk River Specialty Harps
www.elkriverharmonicas.com



----- Original Message ----
From: John Kerkhoven <solo_danswer@xxxxxxxxxxxx>
To: Winslow Yerxa <winslowyerxa@xxxxxxxxx>; Harp L Harp L <harp-l@xxxxxxxxxx>
Sent: Monday, July 20, 2009 4:34:29 PM
Subject: Re: [Harp-L] Overbends on tremolo harps and the Discrete Comb

Winslow,

What you say makes a discrete-combed harp sound extremely cool.... To the
point that I'm left asking how come we haven't seen these -- at least as
diatonics? Or are there discrete harps on the market (other than tremolos)?
And if not, is there any likelihood that there might be?

Did you make your own? How?

What would you list as the advantages and disadvantages compared with a
standard diatonic harp of similar quality?

I'll stop there. I'm just plain intrigued. Any additional info you have
would be appreciated, plus links to pictures if there are any. Sound files?

Thanks,

John



> Actually, discrete chambers make overbends EASIER - no pesky opposing reed
to interfere. That's the whole principle behind the Discrete Comb, my
invention (I also was the first person to apply the term "discrete comb" to
harmonicas). The Discrete Comb puts this capability in the format of a
standard 10-hole diatonic.
>
> Tremolo harmonicas and the Discrete Comb allow you to isolate ANY reed on
the harp (except ones where a hole is punched between the top and bottom
chamber, as on some Hohner tremolos).
>
> When isolated, a reed will:
>
> -- bend down like a "valved bend", with no specific limit to how far the
note will bend; that's a matter of reed adjustment and player skill
>
> -- bend UP on the opposite breath (draw bend on a blow reed, blow bend on
a draw reed) and produce a stronger, more stable overblow or overdraw than
you would get in a dual-reed system.
>
> At Jason Ricci's Harmonica Blow OFF on August 11, I will be playing an
A-harp with a Discrete Comb on a tune called "The Tinge." "The Tinge" is
also in A, so I'll be in first position. But half of the tune is in A minor,
so I have to play overblows to get some of the minor notes, including Hole 1
overblow. Not only will I play that overblow, I will bend it UP two
semitones, because the stability of the Discrete Comb allows for this. I'll
also do some "valved" bending of notes that don't usually bend down, like
Blow 6.
>
> WInslow
>

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