Wasn't it Jeff Karp playing chromatic on the Fathers and Sons
version of "All Aboard?"
The 1960s version of the Hohner 280 Chromonica (aka 64) is pretty
much the same as the current version as far as slide and mouthpiece
parts fitting together and reeds being interchangeable.
The combs in the 1960s and much (most?) of the 1950s were made of a
peachy-pink-ish plastic with a faux-wood finish on the back and
sides, while the modern version uses a black ABS comb. The pink
plastic tends to become brittle and crumbly over time.
One significant difference is that the reedplates in the 1950s and
'60s plastic-combed 64s were held on with long pins that went
through both reedplates and the comb. Modern versions are held
together with machine screws. I'm not sure whether the nail holes
in the pink combs match the placement of the screw holes on the
modern version.
The original design of the 64 was different, and those instruments
are out there on Ebay, often touted as "pre-war" even though that
term is rather imprecise. The 64s that were made up until, perhaps,
the early 1950s had wood combs. Reedplates were held on with
shallow nails similar to what you'd find on a modern 270 or 260
chromatic.
The original 64s, like the existing 270 model, were straight
tuned - all the notes of the C major scale were on the top
reedplate and all the notes of C# were on the bottom reedplate. If
you look at the square slider holes insode the round mouthpiece
holes, you'll see all the top square holes open when the slide is
out (giving access to the notes of C), and all the bottom slide
holes open when the slide is pressed (giving access to the scale of
C#).
With the move to plastic combs, the tuning was changed to cross
tuning, where in Hole 1 the notes of C are on the top reedplate,
while in Hole 2 they're on the bottom, alternating hole by hole.
The corresponding hole pattern in the slider also alternates in a
top-bottom zigzag fashion, making it east to spot a cross-tuned
instrument. The slider and slide button are also subtly difference
in appearance, which can help in determining the tuning scheme of
an instrument when you can't see inside the mouthpiece holes.
Over time the design of the mouthpiece/slider assembly also changed.
The earliest cross-tuned instruments continued the 4-part assembly
used in straight-tuned instruments:
1) a metal backing plate laid against the front of the comb, with
2) the slide on top of that, then
3) a U-shaped cage (or U-channel) in top of that to house the
slider and let it move, and
4) the mouthpiece on top of that. The mouthpiece remained narrow as
in the older straight-tuned instruments.
The later cross-tuned instruments (including those made in the
1960s) used a three-part design. The U-channel (or cage) was
eliminated, and the mouthpiece itself was made fatter so that it
spread outwards more to meet the coverplates, while the underside
of the mouthpiece served the function of the U-Channel.
Different generations of 64s have characteristic boxes, though it's
not uncommon for the instrument and the box to be mismatched.
Generally speaking, if you have an instrument with a black plastic
box or a soft brown pouch, it's the cross-tuned design with a 3-
part slide assembly. If you have one with a hard red box (or silver
for the Larry Alder version) It could be cross-tuned with the 4-
part mouthpiece, or might be an older straight-tuned instrument.
The wooden box with the faux burl finish and the high rounded top
goes with the older straight-tuned designs.
I don't know all details of this history; the above is based on the
instruments I've actually encountered and things I've heard over time.
There may be more knowledgeable people on this subject at
slidemeister.com, a chromatic-only discussion group.
Winslow
Winslow Yerxa
Author, Harmonica For Dummies ISBN 978-0-470-33729-5
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