Omg that's like getting a glimpse of the endgame boss in the intro of a video game or a movie or something lol. i just got my first couple of harmonicas a week ago and sure enough i felt like one was choking a little on that 2 draw, needless to say it's scrap parts now for future projects, sadly it was my favorite of the two, the lee oskar harmonic minor.. But I'm finding this video of GREAT benefit knowing where i went wrong and learning the proper etiquette of how to handle the delicate mechanism inside, which i honestly pretty much mutilated. Can't wait to watch all your other videos, I know i'm just a hobbyist and nowhere near a real harp tech but i'm really loving this discipline. Thank you so much for sharing all of this knowledge!
Thanx Vulcan. I've been tinkering and building stuff since the early 1960's, but harmonicas are by far away the most satisfying. To work on a precision instrument--then be able to make music with it is nothing short of AMAZING! Keep watching this space ... so much to show and so little time ...
Harpsmith I really love your videos on the precision of optimizing a harmonica. My question is, what is your suggested gap (feeler gauge) for the free end of BLOW & DRAW holes # 1, 5, 6, 7, 8, 9, 10?
Thanx for watching! A terrific BLUZ Harmonica "starting" point for both the BLOW/DRAW will be the following: .007" for Reeds 1,2 .006" for Reeds 3,4 .005" for Reeds 5,6 .004" for Reeds 7,8 .003" for Reeds 9 .002" for Reeds 10
Love your videos, always so informative and well explained. It's good to see and learn how to fiddle around this tiny weird instrument. Thank you for sharing your knowledge with us. I am always looking forward to watching your videos!
Thank you for this excellently thorough video. As a player and teacher who has just started to learn the craft I appreciate your very clear explanations!! 2023 was my first SPAH and i leard a bit from sitting with Richard. Hopefully I get to thank you in person in Tulsa!
Man . UR Grrrrrrreat! I enjoy your relaxed style of exploration and explanation. I am re-exploring the harp after seeing Howard Levy’s You Tube thing about playing chromatically on a diatonic harp. I like Howard’s musical style and abilities. However, you combine musical abilities and the technical know how for the “ everyday” player . Thanks🙏
Hey Lefty, thank you for your kind words. As I mentioned in an earlier respond, I am in the workshop significantly more hours than in the studio and/or bandstand. I am therefore, consider myself the quintessential "everyday" player--personally testing and calibrating all HARPSMITH harmonicas before they leave my shop. p.s. I have been investing many hours on perfecting Brendan Power's "overbending" platform. You maybe interested in sampling my prototype. It is specifically designed for the second position bluz harmonica player interested in adding seven more musical notes to their repertoire. If so, contact me at kinya@harpsmith.com
Long time pro blues player here that has avoided working on my harps to the dismay of my wallet! I know you encourage Harp Techs to experiment with various gaps--then document the "best performing" settings onto the Reed Calibration Chart. Can you give a good starting point for gapping each Reed? Also, will we see you at SPAH this year?
Referring to 28:40 on this video, most of my BLUZ customers prefer the following for both the BLOW and DRAW reeds: .007" for Reeds 1,2 .006" for Reeds 2,3 .005" for Reeds 4,5 .004" for Reeds 6,7 .003" for Reeds 8,9 .002" for Reeds 10
Nice video, lots of great info. A few questions as I watch it... Is the zero point gap ever too low initially? Or, what if you over adjust and make it too low? Can you adjust the gap upward? What is the benefit of changing the zero point gap? What improves when you lower it, and what goes wrong if it's too low? Should you 'plink' the reed while adjusting the zero point gap? What is the pattern for end gap versus key, i.e., does it increase for lower keys and decrease for higher keys? If *7/6/6* is a starting point for a C harp, then what would the numbers be for a G harp? An F harp? Thanks!
Another question... I just bought a set of feeler gauges and measured a few harmonicas (Hohner Crossovers). It appears that all of them already have zero point gaps *below* 0.001 inches, i.e., a 0.001" leaf won't go to the rivet pad even with rocking (they jam up about 1/16" away from the pad). The Crossover is a higher-priced Hohner model... have these already been tweaked to insure a small ZPG? Thanks!
Hi David, Q1: Is the zero point gap ever too low initially? A1: Yes. In fact, for my Overbend customers, I will make it a -.001" Zero Point Q2: what if you over adjust and make it too low? Can you adjust the gap upward? A2: watch 30:59 "The Lumberjack". This technique works well for correcting the Zero Point gaps Q3: What is the benefit of changing the zero point gap? A3: The Harp Tech always endeavor to adjust the gapping to match the unique breath pressure of the player. This will be immediately obvious to improved bendability, volume and tone. Q4: what goes wrong if it's too low? A4: the harmonica will be "stiff and stuffy" to play Q5: Should you 'plink' the reed while adjusting the zero point gap? A5: Yes Q6: What is the pattern for end gap versus key, i.e., does it increase for lower keys and decrease for higher keys? A6: Yes. If you were to hold the reed plate on end, then sight down the row of reeds. You will find the gaps produce a pleasing and logical slope from #1 through #10
@@HARPSMITH900Awesome info, thanks so much for the response! If I may clarify..... can you explain if/how the end gapping changes for separate harmonicas in different keys? That is, if the end gap on Reed #2 is 0.007" *on a middle C harmonica* then will the end gap on Reed #2 *on a low G harmonica* be smaller, the same, or larger? How about Reed #2 on a high F harmonica? Thanks again.
By the way David, I meant to answer the above Q1 with a "negative -.001" gap All harmonica reeds are machined with weight and dimensions unique to that particular pitch, and depending on the location (breath pattern) of the reed, i.e. BLOW or DRAW, your gap setting will probably change. This is why I encourage Harp Techs to experiment with various gaps--then document the "best performing" settings onto the Reed Calibration Chart. You may discover, for example, the middle gapping on your C Harmonica/Reed #4 BLOW slightly different from the identical reed that shows up on your Bb Harmonica/Reed #4 DRAW, or your F Harmonica/Reed #2 DRAW.@@davidkulmaczewski4911
Hello Mr. Pollard, thank you very much for your Video: I had problems to do overblows on channel 4 to 6 on an new rocket amp in C, but with your advisement I could adjust the reeds to do their job! Another comment I want to give is (please forgiveme for my bad english: I am german and out of expericence for a long time), that the zero-points in this rocket amp are much tighter than the 0.025mm you announced - am I correct? Have a nice day and happy harping: your skills in mechanics and playing are so great, thank you.
I’m pleased you found my training videos useful. You are correct-from the factory, depending on the worker, sometimes the Z-Point will be below 0.025mm (null 0.000mm)
Harpsmith, thx 4 such a GR8 show of a skillset. I only had one Chromatic, but 13 diff Honers from Bb to F# that I kept in my leather bag. I saw in concert at the Santa Monica Civic Auditorium: Paul Butterfield, Charlie Musclewhite, War, and a few other extraordinary harmonica players. Question: How do you fully clean saliva from the reeds??? K85 Flyboy
WOW, that Santa Monica Concert must of been AWESOME! To safely and "thoroughly" clean harmonica reeds: (1) disassemble your instrument (2) remove and place the reed plates into an Ultrasonic Tank with one capful of EuroSonic Cleanser (3) run two 10 minute cycles (4) remove moisture, then reassemble BONUS: for harmonicas with composite combs, including ABS, Acrylic, Corian, Resin, etc. you can place the entire assembled harmonica in the Ultrasonic Tank.
I recommend 1.75 playback speed. I destroyed my first harmonica at the age of 8 using these methods...didn't have feeler gauges and by overcompensating ended up with serpentine reeds.
Hi Eddie, although my focus are with Brass and Bronze reeds, I’m thinking these measurements would be applicable to the SS reeds. Give it a try and let us know your thoughts.
Hi Cincinnati, I believe Richter's design was to enable players to perform German Folk Songs (oom-pah, oom-pah) on this layout. The lower end of the harmonica held down the chord and bass line, while the mid to upper part of the harmonica played a major scale and encouraged melodic playing. There are novel tunings available today that favor the 2nd position (Cross Harp) player; where all notes on the DRAW side are higher--enabling Draw Bending. Check out Power Bending and Wilde Tunings...
All I want to know badly is how can you hit the draw bending notes in hole 2 n 3 that easily? What or how did you do it? The tongue, lips and jaw shape, position or what. Thank you.
When I bend, I am keenly aware of the position of my tongue and by extension, the jaw and lips. My students, learning to bend found using "phonics" useful for positioning the tongue into the proper location for bending. For example; on the C harmonica, when DRAW bending on hole #3, enunciate on the : "" for the half step bend (1 semitone) = Bb "for the whole step bend (2 semitones) = A " for the whole step & half step (2 1/2 semitones) = Ab To learn the skills of bending in the shortest time possible, I recommend you go to David Barrett's for instruction.
Hello, Dick Sjoberg (Sweden), the inventor of the Tuning Table sold his company, MASTER HARP to Jon Ingram in Berkeley California, USA. Jon built many Tuning Tables but decided the economics were not viable and closed his business last year. Sometimes I will see the MASTER HARP Tuning Table for sale on eBay. Good luck
@@HARPSMITH900 Thank you very much for the information, I'll be keeping an eye on Ebay, so far I haven't seen one, I don't know if they upload it under a different name or as Masterharp, I'll keep an eye on it. Thank you, friend. solutions from Argentina. I love your videos.
Hey Deth-Harp, the fundamentals for gapping the diatonic harmonica are the same for Brass, Stainless Steel and Phosphor Bronze. The tolerances will be adjusted according to the unique breath pressure of the player. Good question😉
Hello Ward, at all harmonica factories, the machinist marks the stock with an indelible ink pen--identifying the beginning and end of the reed milling process. After they punch the reeds out from the stock (Brass, Phosphor Bronze, Stainless Steel), they would randomly select reeds, then measure the relative pitch against a tuner. The marking informs the machinist where, in the process, they would have to "tweak" the cutting tool. Damn good question!
