Re: [Harp-L] harmonicas are not guitars

[David Payne <dave@xxxxxxxxxxxxxxxxxxxxxx>]

This was extensively tested by Hohner in the 1890s. It was the whole idea behind the Mouse Ear Marine Band. People largely discredit Jacob Hohner's work on this, but it stands up. 
 
David Payne
www.elkriverharmonicas.com


Elk River Harmonicas Forum now available via Iphone app, www.elkriverharmonicas.com/forum


________________________________
 From: Mike Fugazzi <mikefugazzi@xxxxxxxxx>
To: harp-l@xxxxxxxxxxxxxxxx 
Cc: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx>; Jonathan Ross <jross38@xxxxxxxxxxx> 
Sent: Monday, October 29, 2012 9:55 AM
Subject: Re: [Harp-L] harmonicas are not guitars
 
Coverplates have more of a direct impact on "tone", IME.  If you have a few 
different models from a company, you can try this out yourself.  For 
example, take a Marine Band and try it with SP20 covers.  Then compare the 
two to a harp without any covers on it.  Harps like the Promaster or 
Firebreath have full-length covers, and they are coated.  That dampens a 
lot of sound. I personally prefer open and vented covers.

The second biggest bang for the buck, when comparing apples to apples, in 
changing timbre and tone is the reed and reed slot work.  This is a VERY 
personalized thing.

IME, the change in tone and timbre when using an aftermarket comb primarily 
comes from increased airtightness, although the overall dimensions and 
design of a comb can change what the player hears.  IMO, the change in 
PERFORMANCE from a custom comb is the most important factor to consider, 
and not a change in tone.

At SPAH a well known individual rudely interrupted a presentation I was 
doing and asserted that combs had no impact on performance or tone.  He 
asserted that you could use a peanut butter sandwich as a comb and as long 
as the reed work was great it would play great as he turned around and 
left.  While part of me assumes no malice and he just thought it humorous 
to play devil's advocate for a minute, I felt compelled to prove this 
assertion wrong.

Rather than take a peanut butter sandwhich, I simply loosened the screws on 
a harp to make it less air tight.  I played poorly compared to when it was 
assembled correctly on a flat comb.  Having a leaky harp made it impossible 
to overbend and the sound was much weaker and airier.  When tightened, it 
overblew very well and sounded louder and more focused...the comb was the 
same both times.  The change in tone and playability was because I made the 
harp more airtight, and not because of comb material.

Bottom line, I use combs based on performance and not tonal quality.  


On Sunday, October 28, 2012 9:11:10 PM UTC-5, Shirley Rowe wrote:
>
> "So let me revise consider the example using an acoustic guitar. Is not 
> the hollow wood body the house of the guitar and a major factor in the 
> sound? Now take those strings and put them on a metal national resonator 
> guitar... Does that not make a difference in sound? If you made an acoustic 
> guitar from that comb plastic would it really sound beautiful and vibrant?" 
>
> Now you are in my world for nearly half a century. You are comparing 
> apples and oranges in your theory. The resonator generates *some* of its 
> sound by transferring string vibrations to one or three spun metal cones, 
> and to the body cavity. There is no way to compare a wooden acoustic guitar 
> to a resonator and reach any meaningful conclusion about sonic properties 
> of the construction materials. A more proper comparison would be between a 
> wooden bodied National and a brass or German silver bodied National of the 
> same design. There's a lot going on under the hood of a reso that has no 
> counterpart in the acoustic guitar world. To the average Joe, the metal 
> body and wooden body resonators will sound very much alike (hence 
> National's trademark "It's in the cone"). To me, one who can identify a '32 
> National Duolian with one strum, they may as well have been built on 
> different planets. I'm very much in tune to the extremely subtle 
> differences. National guru Bob Brozman could probabl! 
>  y tell you model, construction material, and maybe even serial number, 
> from one strum. :). Material matters, but not as much as you might think. 
> Playing technique makes a much bigger difference. Google up and read a poem 
> titled Touch of the Master's Hand. 
>
> I personally love the sound of Crossovers (bamboo combs) and 1847 Nobels 
> (don't know what the combs are), but can't stand the Firebreath and the 
> Pure Harp (rosewood combs and rosewood cover plates on the Pure) because 
> they have such a dark sound. I don't don't know if it is the combs, plates, 
> reeds, or IFM that makes the difference. 
>
> I have no dog in this race. I just wanted to keep the comparisons on 
> track. 
>
> Cheers! 
>
> Robert 
>
> I 
>