[Harp-L] The "newest" Stradivarius of Harmonicas!
Sun May 8 12:15:38 EDT 2016
This whole question of playability is not new to the harmonica world. This relates to how the harp sounds and plays to the player who discerns differences and how easy a harp is to play and get bends out of it. Does reed material make any difference?
Back when I first started out in the late 80s (I'm still starting out) and was just getting into bending I discovered on my own that my Huang Silvertones were easier to bend than Hohner Sp20s or Marine Bands and GOlden Melodys. And the Lee Oskars were also easier to bend. As a novice bender back in the day, some harps were easier to bend for me. After years of bending, I can bend to pitch with just about any harp -- BluesBand, anyone? -- unless the reeds are really out of adjustment.
Today, I'm sure that people listening to one of those harps could tell the difference, but not because of the comb material or reed plates or anything other than reeds. On the other hand, I'm equally sure that the listener cannot tell how hard the playing is working -- playabilty. I noticed this playability with the new lines of Marine Bands and Seydels.
Now,, what I need is the reassurance that reed material makes no difference is sound (output) or playability. That the whole issue is really reed adjustment, that more expensive harps get more hands-on reed adjustment than the lower priced models.
This test of the comb material covered only the combs. I don't think any test has been conducted on the differences of the timbre of reed sets.
I think the reeds sound different. And that is why some player will only play classic Marine Bands.
Over the years, I have watched Charlie Musselwhite and Madcat play different brands. And these were guys who could afford to play any brand they wanted. (Not me, stuck with what I could afford at the time.)
Also, there are those who prefer Marine Bands because they just love the taste of wood.
From: Michelle LeFree <mlefree at silverwingleather.com>
To: harp-l <harp-l at harp-l.org>
Sent: Sun, May 8, 2016 7:59 am
Subject: Re: [Harp-L] The "newest" Stradivarius of Harmonicas!
Michael Rubin wrote:
> At the risk of opening up a can of worms, I participated in the comb test
> at SPAH where Tom Halchak had me and many other harp players play the same
> brand of harp with different combs. I definitely noticed differences in
> tone. He gifted me with a special comb, I think it was brass and it was a
> favorite harp for a while. A reed broke and it is somewhere in the
> graveyard, but I should dig it up and put the comb on a stock harp.
> Just my opinion, comb affects tone, if only for the player. Many audience
> members stated they also heard variety.
Well, Michael, I'm afraid you've stepped in it.
I'm with Vern 100%. Tom Halchak and I disagree and he will defend his
test vigorously. But unfortunately it simply didn't satisfy basic
criteria of scientific experimental design. It is an incontrovertible
fact that any test purporting to show small, qualitative and subjective
differences in sound quality ~must~ be randomized and double-blinded
with a statistically significant number of samples or it has to be
regarded as anecdotal.
I was the official harp sanitizer at Vern and Brendan's 2010 SPAH comb
experiment. I also spent 35 years doing peer-reviewed medical research
at major teaching hospitals so I am not new to randomized trials. Over
the 4-hour marathon experiment I sanitized a single set of reed and
cover plates between sound samples using numerous comb configurations
played by half dozen top harmonica players. Same end result as you
reported -- players claimed they could tell the difference but the
audience, myself included, simply could not. Some of the players
actually got angry because they sensed differences that the audience did
not. It was not a pleasant affair.
I say "claimed" to have heard differences because a player experiences
many different sensory inputs when s/he plays a harmonica that listener
cannot. The natural frequency of vibration of the entire harmonica is
influenced by the comb material. There is little question that metal
combs can transmit more vibrational energy to the player's hands and
embouchure than less dense materials. There is a significant amount of
bone resonance that transmits vibrational energy to the player's ears.
Whether or not the comb is slotted influences the level and nature of
the sound heard by the player.
But none of these effects are experienced by a listener.
So, I'm with Vern there as well. If the only demonstrable differences
between comb materials are experienced by the player but not the
listener, who cares?
More information about the Harp-L