Re: [Harp-L] re: Harmonicas available today

["Abner Galdos" <cdgaldos@xxxxxxxxxxxxx>]

Thank you Jonathan, for taking the time to explain it all, I also was not aware of an archive and once again thank you for posting the link I will use it extensively...

abner
  ----- Original Message ----- 
  From: Jonathan Ross 
  Subject: [Harp-L] re: Harmonicas available today
  All quotes are from Abner Galdos:
  First, for the most part I'll assume this is about diatonic  (yes)
  harmonicas, so will only distinguish when talking about chromatics.

  "1) what Brands and Model do you like and why ?"

  I play mostly customized harmonicas by Richard Sleigh, Jimmy Gordon  
  and Pat Missin for diatonics, and for chromatics customized  
  instruments by Pat Missin, Richard Sleigh and Siegfried Naruhn.   
  These are the best people working, so why not play the best.  If I  
  were to play a stock model, there are many to choose from which are  
  just fine.

  "2) What to look for in a Brand and Model ?"

  As long as we are talking basically decent models personal  
  preference, really.  If you like the physical feel, both in the mouth  
  and the hands.  I would go for something which is reliably in good  
  shape out of the box.  I've found Lee Oskar and Suzuki have the best  
  quality control, but Hering and Hohner are competitive in the mid- 
  range.  I've not tried enough Seydels to say, and have never tried a  
  Bends.

  For chromatics I think the Hohner CX-12 is truly amazing, though the  
  cover-shape is not for everyone.  The CX-12 Jazz probably makes up  
  for this (though I've not tried it).  After that, the higher end  
  Suzukis are quite nice and then Herings and Hohners, I would say.   
  I've had some reed longevity issues with Herings, otherwise I'd  
  recommend them higher (I am not a fan of the cross-tuning both Suzuki  
  and Hohner use).  I've tried neither Seydel nor Bends chromatics, so  
  have no comments on them.

  "5) Combs: wood,plastic,marble,gold,silver,paper,leather,bone,skin,  
  how do they change the sound or do they ?"

  There has been exhaustive discussion of comb material in the  
  archives.  I suggest checking that.  Basically, there is neither  
  evidence from published testing nor sound theoretical reasons which  
  would back a difference in tone due to comb material.  Thus, the best  
  reason to choose a comb material is for durability, feel and similar  
  properties.  I would recommend against most wood combs personally  
  because wood is very sensitive to moisture, and harmonicas tend to  
  get quite wet from playing.  If sealed properly wood can avoid this,  
  but why bother.

  "6) Reeds: Brass,steel,aluminum,plastic, paper, how does the material  
  change the sound ?"

  Again, there is no evidence for a change in sounds due to a change in  
  materials.  Currently there are two choices of reed material, brass  
  alloys and steel available on the market.  Different models have  
  reputations for greater longevity and other reed-related issues.   
  Most likely reed scale (the shape, and size of the reeds in  
  relationship to the pitch) have a much greater impact on how the reed  
  performs and sounds than any change in reed material.  The reed  
  itself is not generating a significant amplified sound (unlike a  
  guitar string), but rather it is the reed's disruption of the  
  airstream which generates the sound we hear.

  "7) Screws on reeds: the more the better and if so why?"

  I assume this means the number of reed-plate screws and not screwed  
  on reeds.  In the later, these are not commercially available (and  
  have plusses and minuses verses rivets).  In the former, I am firmly  
  in the camp of as few reeds as can do the job of securely and tightly  
  hold the reed-plates on.  On a diatonic this can be anywhere from two  
  to five depending on other factors--placement can be important here,  
  but so can cover-plate design, comb design and flatness of  
  components.  On a chromatic usually more screws are needed, but I  
  have a 64 from Pat Missin which is held on with six screws and that's  
  all.  More screws does not inherently mean a better seal or greater  
  airtightness.

  "8) Reed cover: Nails that look like screws  making one  a fool  
  trying to unscrew them, screws I have seen 2 or     "

  Not sure if this got cut-off.  All components should be held in by  
  screws (excepting perhaps the reeds themselves).

  "9) Cover Plate: Material will this make a difference ?"

  Again, neither published tests nor sound theories back up a  
  difference in sound due to cover-plate material.  Perhaps a  
  difference in shape, but even that is minimal.  Again, the archives  
  have some good threads on this subject.

  It may sound harsh, but my best advice to any newbie to harp-l or the  
  harmonica in general is to check the harp-l archives available here:

  http://harp-l.org/pipermail/harp-l/

  This is not to cut-off discussion, but rather because there is a  
  wealth of information which can be found there and it is an  
  invaluable resource for those wishing to learn more.

  Hope this helps.




    ()()    JR "Bulldogge" Ross
  ()  ()
  `----'



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