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

[Pat Powers <patpowers@xxxxxxxxxxx>]

I love this stuff!
 
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patpowers@xxxxxxxxxxx

Sep 2, 2010 12:31:13 PM, Chromboy@xxxxxxxxxxxxx wrote:

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!)