Re: Subject: Re: [Harp-L] SPAH 2010 Comb Test: Retraction & Apology

["Rob Paparozzi" <Chromboy@xxxxxxxxxxxxx>]

Vern,

  I am not a scientist and I defer to your expertise, but I beg to 
respectfully differ with your theory. You can call my theory a Myth but in 
fact I look at the sound production and projection much differently than you 
do.....yours may be based on years of scientific acoustical study, mine is 
pretty unscientific and based on years of practice and listening and 
experimenting with various Harmonicas I have played in performance and 
recorded with.

Vern said:>

......in a harmonica the sound is generated by the variations in air flow as 
the reed opens and closes the slot. The sound travels through the air to 
your ear without passing through any material of the reed, comb, or covers. 
Therefore, the sound is unaffected by the materials of which these parts are 
made.

......in a stringed instrument, the sound is generated by the vibration of 
the string and must pass through the materials of the bridge and the large 
top/soundboard to be coupled to the air.

The false analogy with stringed instruments that you mentioned is probably 
the origin of the harmonica materials myth.

According to my three books of musical acoustics, the materials of wind 
instruments (including organ pipes) do not affect their sound.  That is hard 
to swallow if you have paid five figures for a gold flute!

Rob P sez:

I agree that the sound is generated by the variations in air flow as the 
reed opens and closes, BUT the air flow is 'Channeled via the comb'
it is my contention that during that channeling process a certain resonance 
and projection start to emanate from the whole instrument and the listener 
and player are NOT only hearing reed reproduction but a much wider sonic 
experience. Thusly, it it also my contention based on the aforementioned 
that the comb albeit NOT a soundboard as in a piano or violin, does play a 
part in tone and timbre as the sounds reflects off the Comb which CONTAINS 
the air before reed dispersal. I further believe the coverplates in 
conjuction with the comb materials provide distinct timbre and tonal 
qualities. Based on this, I would not view my stringed instument analogy 
false, I view it more as concommitant, co-varying and relative.

I don't have 3 books out, but I did do an album with James Galway and I must 
say his Gold Flute sounds amazing and is sure Pretty!,-)))
Again, Vern I totally defer to your expertise and LOVE what you do for our 
instrument..........

Unscientically yours,-)
Rob 'Mythical' Paparozzi

ps...(BTW, I love your using your Rack and your hands Free invention is one 
of the major major breakthoughs in our field!)