Stephen Schneider wrote:
<Amen to bringing back the last generation of yellow brass. If I
understand Steve Baker correctly, the reason Hohner developed the
current alloy/profile/milling was to get reeds that never, ever break
off and expose the company to liability suits. I understand their
concern; the result, however, is harmonicas that some people never,
ever want to buy again.
Hohner ought to bring back the last yellow brass reed type, and try
tuning it with something other than a diagonal slash at the base if
they want to cut down on catastrophic failures. Easy for me to say, I
know, but I can spare two cents from what I spend to buy other brands
now>
Steve replies:
What catastrophic failures are you referring to? Though slashing
the reed base with a tuning file is indeed not particularly
elegant, I've yet to see much evidence that reeds subsequently
break at that point, as SmoJo has rightly observed. Since the
introduction of the current Hohner Classic reed profiles about 5
years ago, incidence of breakage has sunk and reed life has
increased dramatically, but these reeds (diatonic and chromatic)
are also great to play. They're certainly good enough for me and I
use them on all my 100+ gigs a year plus studio sessions and my own
CD recordings. Any problems are more often the result of the
exceptionally tight tolerances than of poor quality components. I
think it's pretty unlikely that anyone playing one of today's
Classic reedplates would "never ever want to buy one again". Even
devoted and prominent players and employees of other brands (whose
names I'll be discreet enough not to mention here) praise Hohner's
current reed plates in the highest terms.
In Hohner diatonics, the yellow brass you're referring to was
replaced in 2000 by the red brass used today. The decision to do so
was not connected with the reed profile / reed life topic, but was
a consequence of that alloy no longer being commercially available.
Before this, that same red brass had been used for years for chrom
reeds as well as on the original Meisterklasse diatonics and was
generally found very satisfactory in those models, so after
conducting extensive tests Hohner adopted it for diatonic harps. I
also liked the yellow brass and would be very curious to see how it
performs with the new reed profiles, but it's not simple to find a
foundry which will make small quantities of exotic alloys to
extremely precise specifications and buying a commercial oven load
of several tons ties up a lot of capital.