[Harp-L] All Overbends Are Not Created Equal?

[Michael Rubin]

I am telling how instead of why because I don't know why.

On Fri, Mar 17, 2017 at 9:22 AM, Michael Rubin <
michaelrubinharmonica at xxxxx> wrote:

> When I overdraw on 7 I use a koo articulation.  There is pressure in the
> middle of the roof of my mouth and I aim my inhale air to that point, not
> to my throat.
>
> Although I U block holes 9 and 10 overdraw and CAN ublock 7 overdraw, I
> find puckering to be more effective.
>
> I use the ball end of a tuning fork to "emboss" both reeds.
>
> I gap my reeds so tight that there is some resistance when I try and play
> the built in notes.  Then I slightly back it up so there is no resistance.
> Both reeds.
>
> I would work with a G harp to start.
>
> Although I am not much for spiritual woo woo,  I found determination and
> the decision to accomplish the deciding factor in overblows.
>
> Good luck.
> Michael Rubin
> michaelrubinharmonica.com
>
> On Fri, Mar 17, 2017 at 9:11 AM, Tin Lizzie <TrackHarpL at xxxxx>
> wrote:
>
>> The Iceman makes a good point that if you can consistently hit the center
>> of a bullseye, regardless of the size of the bullseye, you win the archery
>> contest.
>>
>> But the question I’m trying to ask is, WHY is that 7 overdraw-ha-ha so
>> much more difficult than the others?
>>
>> Greedy Tin Lizzie (wanting the 2nd position b5 in the middle octave, darn
>> it all)
>>
>>
>> On Mar 17, 2017, at 9:36 AM, Sébastien Frémal wrote:
>>
>> > (except for that 7 motherf**** overdraw ha ha)
>>
>>
>