Re: [Harp-L] Comb test

[David Payne <dave@xxxxxxxxxxxxxxxxxxxxxx>]

Michelle:
"So with this renewed interest, those practical problems could be overcome if one or more harmonica manufacturers would donate the required number of instruments and customizers like Matt and David would see that the playing field was level by providing materials and/or time and expertise to ensure that the instruments aren't leaky, etc."

I did make that offer for the second test. I volunteered to set action so they all played the same, but it was decided that using the same one would eliminate unwanted variables in their being different reeds. 
Somebody mentioned something about the machine. Vern built that machine for the first test. I don't think the machine is necessary. I don't think any extreme lengths are necessary... because, here's the deal, when there is a difference in tone, it is very specific. I'll take you to the side vent test I did years ago, people could hear the vents. With the vent closed, there was a certain tone. With the vent open, that same tone was still there, but there was an adding of specific treble overtones. It was also demonstrated in that test and subsquent tests of mine that dampening of the coverplates had a similar affect - undampened added treble overtones. Back in the 1890s, Seydel and Hohner had this tonal revolution going on - Seydel's theory was based on air flow, Hohner's on vibrating coverplates. I've tried to see which one was right and came to the conclusion that they both were.
Another example of specific things: 
The tone of leather vs. plastic valves. Leather has a different sound at the start of the note - it's more deliberate, plastic valves are typically more gradual at the start. 
Whether it's blowed by a machine, or a human, it's not going to change those specific things. 


Verne has never argued that there is no difference. He argues that people can't hear it. I think he's almost right about that. I don't think most people can. I was looking around at the 2010 test, looking for changes in facial expression in the players and audience when the brass combs came up and there wasn't any. I wanted to stand up and say "C'mon for chrissakes, can't you hear that?" I especially wanted to say that to Chris, I wanted to grab him by the shoulders, shake him and say "For chrissakes, listen!"  because I know he had an incredible ear.

These are the specific things I hear, when I've tested harps with identical coverplates, reedplates and my eyes closed. 
1) Wood vs. solid plastic - no difference whatsoever.
2) Wood vs non-solid ABS plastic - additional bassy overtones with wood. 
3) Non-solid ABS plastic vs. solid plastic - additonal bassy overtones with solid plastic. 
4) Solid Brass - it's an addition of treble overtone, but not the same sort of treble that's added with side vents, etc. It's different. It's like a sound that kind of hangs. I don't know how to describe this really, and I usually don't because I'm sure some people with think it a sign of insanity surely - but when I listen closely to sounds, it's like some of tones are in different places, kind of like when you hear a noise made beside you, you know where it is and can look where it came from. The unique overtone I heard with the brass was like it was along the ceiling and went over to where ceiling meets the walls. Imagine striking a big, low-pitched bell and then the sound fades out. But right at the point when the sound fades, if you really concentrate, you can still barely hear the bell still ringing - and you can just barely feel its vibration. That was what I specifically heard on the brass combs at the 2010 SPAH test. If this were all in my mind,
 I should have been wrong about the brass 67 percent of the time. But I wasn't. I was right about 70 percent of the time. There were a handful of times when the brass combs did not make that overtone. I have chalked that up to those being leaky - as Brendan has said the installations sometimes was during that test - but I don't know with absolute certainly. 
What I can say with absolute certainty is that there was a specific tone I heard and when I heard that tone, the comb turned out to brass each and every time. 

David   
www.elkriverharmonicas.com