Re: [Harp-L] Reeds

[Rick Dempster <rick.dempster@xxxxxxxxxxx>]

I trust I've got this right; Michael Timmler, from Hohner, on his recent
visit to Melbourne, Australia, with Howard Levy, told the attendees of a
workshop that it is best to keep the reed as straight as possible. He
called on us to imagine a swinging door that can swing back and forth
through its point of closure, and pointed out that vibration caused by a
curved door closing, would be less than the more sudden closure of a
straight door. To do this, he recommended bending the reed from as near as
practically possible to the rivet.
When I asked him about the risk of inducing stress in the reed through this
method (rather than inducing a more gradual curve) he said simply that it
was a case of trading one risk or disadvantage for another.
Don't know that Michael will see this, so, as I say, I hope I understood
him correctly.
RD

On 26 September 2012 14:07, Steve Webb <swebb@xxxxxxxxxxx> wrote:

> I have tried all kinds of things experimenting with gapping diatonics. At
> one point I thought the reed needed to dip into the slot and curve upward.
> I am still never sure just how to gap. I mess with draw and blow gaps until
> I find something that works. I would much prefer to find a method that
> would be faster and more accurate.
> The only mods I do are gapping and embossing. I have a couple of combs
> from Hetrick and am going to see if that makes a difference. I play mostly
> Sp 20s, but have some Delta Frosts and Seidels too.
> Steve in Minn.
>
> Sent from my iPad
>
> On Sep 25, 2012, at 10:48 PM, Vern <jevern@xxxxxxx> wrote:
>
> > The "gap" is the height of the under side of the reed tip above the
> plate.
> >
> > The "profile" could be the thickness variation of the reed along its
> length.  However, I suspect that you refer to the root-to-tip shape of the
> reed.
> >
> > The reed should be parallel to the plate at the root and arc upward
> smoothly to the tip.  It should not dip into the slot. This shape limits
> the air flow near the root where it is ineffective at producing vibration.
> >
> > I once quizzed Sissy Jones about this and this is my understanding of
> her answer.  It is what I use.
> >
> > Her technique for gapping a straight reed is to put the tip of her index
> finger on the reed to restrain its bending near the root.  Then lift the
> tip enough to produce the desired gap.
> > If you are inexperienced at this, start with a short lift that may not
> produce any gap.  Then use many successively higher lifts until the desired
> gap is reached.  Try to avoid overdoing it so that you have to bend it the
> other way.
> >
> > My experience is with chromatics.  I am unacquainted with any arcane
> shapes used to facilitate bending and overblowing.
> >
> > Vern
> >
> > On Sep 25, 2012, at 8:15 PM, Steve Webb wrote:
> >
> >> I am a little confused. Can someone enlighten me about reed profiles
> and their role in making a harp play better? I have always equated reed
> profile and gapping, but I think I might be misguided.
> >> Steve in Minn.
> >>
> >> Sent from my iPad
> >
> >
>
>


-- 
Rick Dempster
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