Re: [Harp-L] Re:Combs

[Mike Fugazzi <mikefugazzi@xxxxxxxxx>]

My point being, as it relates to combs, is a well made comb that is flat is 
a need...the material means little to me.  The design, construction, and 
quality mean a lot to me...but any perceived changes in tone can be debated 
until the end of time.  It is just as likely to be the airtightness of the 
harp that changes the sound as it is the material.

On Tuesday, October 30, 2012 10:59:02 AM UTC-5, Mike Fugazzi wrote:
>
> I may have posted this to the List already, but Sam Friedman and I talked 
> about making custom harps that had intentionally included a very graphic 
> and inappropriate piece of cover art so as to only attract customers that 
> were worried about how the harp actually played, and not how it looked, 
> lol.  It was a running gag most of SPAH.  
>
> I don't like injected combs because I don't like recessed reed plates 
> because I don't like how they feel in my mouth.  I loved GM's until I tried 
> MB's and realized I liked the open covers and thinner comb because of how 
> they felt and responded to my playing.  Ultimately, at the end of the day, 
> what works for YOU is all that matters, regardless of what science says.
>
> I know exactly what I want from a harmonica, which is even different than 
> the customs I build for others.  
>
> The basic harp for me is a Crossover that is gapped for my playing using a 
> flat aftermarket comb.  I want the draw plate flat sanded and the reed 
> profiles set up for an aggressive overblow player.  IMO, airtight with 
> great profiles is generally good enough.  While a full-on custom is a *way 
> better* deal, I know I can perform in front of others with said harp. 
>  The most important factors in a great harp are the fact that is is 
> airtight and well profiled.  The XO already has a compromise tuning close 
> to ET, open covers, side vents, and a comb .24" or less.  I don't want 
> something wide, sluggish, or airy.  I don't want it to be dark or muddy.  I 
> don't want it to be quiet.  I don't want straight ET, and I don't want a 
> Just intonation.
>
> I know what I want from a custom too, but that's besides the point. 
>
> That took a lot of time to nail down.  Now if I could only get that 
> specific with what I want from my live rig....
>
> On Monday, October 29, 2012 12:10:27 PM UTC-5, JON KIP wrote:
>>
>> seems to me, a chromatic player and a diatonic-owner, that what really 
>> matters is response. Nothing else comes close in the chain of "what makes 
>> playing easier". 
>>
>> Tone?... that's usually dial-able with whatever electronics you use. 
>>
>> But response is king. 
>>
>> So worrying about the instrument effecting the Tone is secondary. 
>>
>> Once the response is optimized for you  on your instrument, the rest is 
>> You, your body, and, of course, your ears that your parents produced in 
>> that (in my case), intimate overnight train ride in London during WW2. 
>>
>> At some point, expending effort on discussing materials is just Practice 
>> Avoidance. 
>>
>> Or, just "interesting shop talk", which is not bad, certainly. no harm 
>> there. 
>>
>> I spent a few days twice with Chris M. In Mesa, where my daughter was 
>> doing a show, and more than once, he mentioned his amazement at the things 
>> that players put importance on... the "look" of the instrument, the comb 
>> material....and he laughed and showed me his instruments ("Here's the piece 
>> of crap comb I use")...and he did get pretty good results. Made a pretty 
>> fair living making combs that, to his way of thinking, "made little or no 
>> difference" to the playing. 
>> His thing was response. Made me a tool to emboss, showed me how to use 
>> it, did a few of my Golden Melody Machines and we had a fine time. Two days 
>> and it cost me a sushi dinner for four.. Good Price.... no worms, an 
>> unexpected side benefit. 
>>
>> Response. Once there's optimum response, the rest is up to you. 
>>
>> the phrase "that's a really good sounding harmonica you're playing" is on 
>> the Top of my List of kind, but silly statements from listeners. 
>>
>> GIve me a responsive three-octave chromatic and, within ten minutes, 
>> fortunately or unfortunately, I'll be sounding like Me. 
>> It might be the same in the Diatonic World. 
>>
>> There's probably a connection between comb material and response, 
>> though.... but tone? 
>>
>> jk 
>>
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