Re: [Harp-L] chromatic advice

[MundHarp@xxxxxxx]

Winslow said:
<< I wouldn't be so quick to dismiss the virtues of 16-hole  chromatics.. 
I've had (and presently have) several 16-hole chromatics that  produce quite 
a big sound, as big as any 12-hole harp. >>
 
I stand corrected...
 
I only own one 4 octave chromatic, a Hohner Larry Adler 16 (In C) that my  
mother gave me for my 13th birthday. (A long time ago)... I guess 4 octave  
harps have probably improved since then!
 
I've had that harp rebuilt several times... First, by Antony Danneker, who  
"metalised" the pearwood comb, That was about 20 years ago... Then the 
pearwood  comb split (The BANE of my chromatic harmonica experience)..
.
So Bill Romel re-built it for me, using one of his special Plexiglas  combs.
A few years later, Tony Danneker rebuilt it once again...
 
I LOVE that harmonica... BUT. It delivers about one half of the volume of a 
 regular  3 octave "270" in C... And it is just about 1/4 as loud as my 12  
hole  ILUS "Renny". I use my Larry Adler 16 mostly to practice  with becau
se it isn't very loud and does not annoy the neighbours.
 
However, it IS fine for recording! It has a beautiful  tone....
 
I stand by my statement... Generally speaking, a 12 hole chrom will usually 
 be louder than a 16 hole chrom.
I also consider that for "Third position" blues, the tenor lower  octave on 
a "64" will be much more useful, than the more treble tuning of a  standard 
"48" in "C". Many harmonicists prefer the 64 hole instrument,  and that 
extra octave is very desirable!
 
On the other hand... Why did Doug Tate build his "Renaissance",  perhaps 
the "ultimate" chromatic harmonica, as a 3 octave? And why is Hohner's  
flagship harmonica, the "Silver Concerto" only a 12 hole harp?
 
John "Whiteboy" Walden
Cebu City
Philippines