[Harp-L] Re: Harp-L Digest, Vol 69, Issue 70

[David Payne <dmatthew@xxxxxxxxxxxxxxxxxxxxxx>]

Couple things... 
First, typically one harmonica plays better than another depending on WHEN it was made. The dies they use to stamp out the plates wear. So, if you get one made early in the die cycle, it will rock. If you get one late in the die cycle, it will suck in comparison. Making new dies is pretty expensive, that's why they aren't changed constantly, manufactures walk this tightrope, if they wait too long, the harmonicas get unresponsive. If they change too quickly, they lose some money. So, it's all about that balance. 
If you ever seen Jason Ricci pick up an unfamiliar  Marine Band, first thing he does is look for the stamped date on the reedplate. It's kind of like red wine, some years were better than others and I presume that has a lot to do with that die cycle. How often they are changed, I dunno. I would be interested to know. 
So, in the end, it's always a crap shoot. 

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

Message: 2
Date: Tue, 26 May 2009 08:26:13 -0700 (PDT)
From: Harvey Berman <cscharp@xxxxxxxxxxxxx>
Subject: [Harp-L] Tolerances on Harmonicas and the Manufacturing

It seems that all the conversations about Harmonica out of the box quality and consistency have to do with tolerances. 

 Tolerances mean that when you specify a product, or you manufacture a product you specify the allowable deviation from the standard you wish to achieve.  This is a plus or minus situation, and the tighter the tolerances, the more expensive the product.  When two or more components interact with each other, as in the Harmonica reed plate and harmonica reed tolerances are very important.  For example, If the reed tolerance is on the plus side, and the slot tolerance is on the minus side, then you have a real tight fit, and a great harmonica.  If it is the other way around, and the tolerances stack up wrong, then you have an airy, less than perfect product.  

I figure that this is why harmonicas are not all the same out of the box.  The average tolerances, I am guessing 80 percent,  are the ones that you get out of the box which work as designed.  The tight tolerance matchup, let say 10 percent are the ones that play great out of the box, and which we would probably pay more for if we could consistantly get them.  The loose matchup, the other 10% are the ones that everyone is bitching about. 

What is the answer?  Maybe there could be 3 prices of lets say a Marine Band.  Lets say $30 for the Normal Marine Band, and $40 for the tight one, and only $20 for the loose one (which is still with the original specs)  Of couse, to separate these, probably adds another manufacturing step, and in turn raises the costs.

Before anyone slams me for now knowing what I am talking about,  I will admit that I know nothing about the Harmonica Manufacturing Process, but I spent many years in other manufacturing environments.  All the numbers I quoted are made up, and all of this is IMHO. Tolerance theory is real.

Harvey Berman