Re: [Harp-L] Embossing and customizing

[dmatthew@xxxxxxxxxxxxxxxxxxxxxx]

Mike writes:
" However, when I hold the
> reed up to the light,
> it always seems that the gap between the reed and reedplate
> is the same as
> if not embossed."

The reason for that is it's not all about lessening the gap between the 
reedplate and reed... One of our mottos at the Elk River Institute for 
Advanced Harmonica Studies is "hey, the air has to go somewhere." Maybe 
think more in terms of how the air flows.

THere's a number of theories for how embossing works. Most are probably 
right, some more right than others, as with all things harmonica, lots of 
little things add up to create a specific attribute... when you emboss, 
you're sort of recreating that magic of the first harmonica reedplates to 
come off the line after a die change as you make an otherwise undulating 
corner surface uniform,  but you are also decreasing the space between a 
little between reed and reedplate, and you are creating a sloping edge 
instead of a 90 degree, plus a bunch of other crap and junk that changes 
stuff. 

But, if you use an Xacto knife and scrape it flat along the edge of the 
slot, you get something more like a line of burrs that does decrease the 
space between reed and reedplate. You take that same knife at a slight 
angle, you get something different. You stick a penny in there, you get a 
third emboss that's quite a bit different than the other two. 
Interestingly enough, they all seem to work and all of us prefer one 
technique or another. Why? 


Dave
________________
www.elkriverharmonicas.com

--- On Tue, 1/12/10, Mike Fugazzi <mikefugazzi@xxxxxxxxx> wrote:

> From: Mike Fugazzi <mikefugazzi@xxxxxxxxx>
> Subject: [Harp-L] Embossing and customizing
> To: harp-l@xxxxxxxxxx
> Date: Tuesday, January 12, 2010, 9:43 AM
> I know this topic has been covered
> many times, but I have a more involved
> question.  I am trying to master this art and have
> tried using a penny,
> socket, exacto knive, and the back of a counter sink. 
> I can visibly see and
> can feel the brass moving.  I have gotten reeds stuck,
> so I know the
> embossing is taking place.  However, when I hold the
> reed up to the light,
> it always seems that the gap between the reed and reedplate
> is the same as
> if not embossed.  To go a step further, I have applied
> pressure to check the
> spacing with the reed in the slot, and the same thing
> occurs.  I have tried
> embossing each side separately and together.  I have
> even used a reed wrench
> to move the reed, emboss, and replace.
> 
> I *think* I am getting results, althought the gapping helps
> too, but can't
> visibly see them...or maybe I get to a point where the reed
> becomes a bit
> embossed but won't move anymore. I don't rush things and if
> it takes a
> couple of hours to emboss, or whatever, I have the
> patience.  I would like
> to do whatever it takes to excel at this.  I have
> gotten solid at arcing and
> make sure the reed is parallel to the reed plate.  I
> have used Rupert
> Oysler's video with success as well.  Tuning isn't an
> issue...gapping goes
> well...but I think I am missing something when embossing.
> 
> Thanks for any info you can provide.  I must be
> getting the hang of
> something as even with my lower harps like Ab or Low F, I
> am able to
> overblow, sustain the ob, and bend the ob.  That being
> said, I can still
> hear/feel some leaking air at times.
> 
> Mike Fugazzi
> harmonica/vocals
> NiteRail <http://www.niterail.com>
> "Rock and Blues Ablaze"
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