RE: [Harp-L] Reed Gap-A-matic

["Jim, \"Turbodog\" Antaki, \(PhD\)" <turbodog@xxxxxxxxxxxxx>]

Thanks for following-up, Ken.  Personally, I find that the 7D can be gapped
extremely low with no untoward effect.  The draw reeds on the lower two
registers do not have the same propensity to choke as the blow reeds.
Nevertheless, the customer is always right.
 
I was waiting for someone to ask about the reedplates. I must confess that I
am biased towards the use of TurboLids, which readily snap on/off.  In fact
the original motivation for developing them (over 10! years ago) was my
irritation with removing/replacing coverplates on the Golden Melody, which
as you know requires three hands.
 
But, any old time motorheads out there would remember in the day of solid
lifters, we would drill holes in the valve cover so as to adjust the "gap"
while the engine is running.  Hence, you could drill a tiny hole (1/16")
above the adjustment screw.... which might have the added benefit of
improving the sound... ala Brendan Powers "powerholes"
 
The design could be modified to make the adjustment from the rear, but this
would require a bit more R&D on my part.
 
Thanks again.
 
TD

 
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From: Mojo Red [mailto:harplicks@xxxxxxxxx] 
Sent: Thursday, February 02, 2012 9:39 AM
To: turbodog@xxxxxxxxxxxxx; harp-l@xxxxxxxxxx
Subject: Re: [Harp-L] Reed Gap-A-matic


Hi Turbodog,


I'm glad to have fallen into your intuitive trap, and provided the response
you were looking for. 


Yes, the "sweet spot" gap is difficult to find, and, of course, it is
different for every key harp. 


I should, however, amend my post regarding the reed in hole #7. The needed
(and pesky) sweet-spot gap would be needed on the 7 draw (not 7 blow) to
achieve an easy to hit overdraw rather than the overblow I originally wrote.
I was so excited by your proposal that I typed before thinking. :-)


Question: Does your design require removing the cover plates to re-gap the
reed, or can the adjustment made on the outside of the harp, say at the rear
of the comb? 


Harpin' in Colorado,
--Ken

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From: "Jim, "Turbodog" Antaki, (PhD)" <turbodog@xxxxxxxxxxxxx>
To: 'Mojo Red' <harplicks@xxxxxxxxx>; harp-l@xxxxxxxxxx 
Sent: Wednesday, February 1, 2012 8:49 PM
Subject: RE: [Harp-L] Reed Gap-A-matic


Thanks Ken,
 
Your answer is actually the one I was looking for.  Or at least corroborates
my intuition.  For the past X years, I've been exprimenting with all kinds
of reed and reedplate modifications to permit overblows while avoiding that
irritating choking effect.  I'm still optimistic that there is room for
improvement. However, the two settings are  physically at odds. You kindof
need the blow reed to choke in order to initiate the overblow, but you want
it to not choke when you want it to not choke.  Consequently - it is highly
tied to the player's embouchure. What works for one player will frustrate
another player. Hence... continuous gap adjustability would allow you to
experiment through trial and error to find that sweet spot.
 
Much obliged
 
Turbodog


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From: Mojo Red [mailto:harplicks@xxxxxxxxx] 
Sent: Wednesday, February 01, 2012 4:53 PM
To: turbodog@xxxxxxxxxxxxx; harp-l@xxxxxxxxxx
Subject: Re: [Harp-L] Reed Gap-A-matic


Turbodog,


I'm surprised no one has responded to your intriguing post. You always come
up with the ~coolest~ ideas!


I fiddle with gaps on all my harps, as I'm sure many players do. Being able
to precisely adjust gaps on the fly might be a viable tool indeed. 


If I had to choose only one to have that option, I'd likely suggest that the
adjustable gap be placed on the 5 blow reed.
When it's low enough to overblow, it tends to be too low to hit hard; and
vice versa. 
Another good choice would be the 7 blow (for the same reason), but I use the
7 OB far less frequently than the 5 OB.


Best of luck with this idea! 
Your "mad genius" approach to harmonica modification is always enlightening.



Harpin' in Colorado,
--Ken M.

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From: "Jim, "Turbodog" Antaki, (PhD)" <turbodog@xxxxxxxxxxxxx>
To: harp-l@xxxxxxxxxx 
Sent: Sunday, January 29, 2012 9:13 PM
Subject: [Harp-L] Reed Gap-A-matic


Friends,

Do you ever fiddle around with your reed gap?  (Don't be ashamed to admit
It. We all do it.)

Did you ever wish there was an easier way than physically deforming the reed
back and forth, and plinking until it is just where you want it? I have. 

Which is why I developed the Gap A Matic (patent pending.) It allows you to
adjust each of the reed gaps (aka offset) --very precisely -- by twisting a
small screw. Ala bridge adjustment on a guitar or fiddle. The only problem,
like all my crazy inventions, it is painstaking to manufacture in small
quantities. And there just isn't great enough demand to justify mass
production. So its been sitting on the shelf for years.

But it just occurred to me... not all 20 reeds need the same fastidious
attention as "certain reeds" ... if you know what I mean.  in particular
there are a few blow reeds that if gapped too low will tend to choke too
readily. Yet too large a gap will make them seem leaky, breathy, or
unresponsive.  This is also a function of the key of harp, the size and
shape of your embouchure, the loudness of your playing, and the type of
music (e.g. single notes, chords, overbends etc.)

So my question to you all: If you were granted just one wish for one
particular reed that you could adjust at will... even during a gig, what
reed would that be?

Thanks in advance for your assistance.

Turbodog
ps - stay tuned for similar message titled, "TuneAmatic" or "MagnAtune" (I
haven't decided yet what to call it.)