walterharp
1120 posts
Jun 20, 2013
10:33 AM
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Hey all,
I have my opinions, but they are based on a smaller sample of harps some customs, some done by me...I think in general the middle keys are easier overall (say C ish)
What do you think?
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arzajac
1083 posts
Jun 20, 2013
11:04 AM
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Bb to C.
In general, it's easier to overdraw on the lower harps and easier to overblow on the higher harps. There is overlap in keys Bb to C.
But that's not a hard fact. I have to evidence of this. It probably matters what kind of overbends you play (passing notes versus sustained) and whether you are a hard or soft player. Also, this is only relevant to learning overbends. Once you are experienced, it's not hard to hit any of the overbends if the harp is set up properly.
That being said, I find it a lot of work to nail the 1-hole overblow on a low-F or lower. That may be related to just how big I can make the inside of my mouth puff out and I may be hitting the limit. But the 10 overdraw on a high-G is pretty easy. Again, it depends on the harp too.
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Custom overblow harps. Harmonica service and repair.
Last Edited by arzajac on Jun 22, 2013 4:30 AM
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tookatooka
3351 posts
Jun 20, 2013
11:21 AM
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I find D the easiest to overblow, C next, but I haven't achieved any overdraws yet on any harp. I don't think it can be technique but must be set-up. Ideas for best overdraw set-up anyone please.
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HarpNinja
3356 posts
Jun 20, 2013
11:46 AM
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Bb.
I specialize in Hohner overbend builds. Mantra builds are on par with the best out there.
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Mantra Customized Harmonicas
My Website
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smwoerner
192 posts
Jun 20, 2013
12:03 PM
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First thing first is to check your technique. Take an old harp remove the covers, put your thumb over the 7 draw reed and draw in while constricting the airway and see if you can get the blow reed to sound. Keep slowly tightening the blow reed gap until you can easily get the overdraw. Next, close the gap on the draw reed until sticks and put the cover plates back on.
With the cover plates on and the draw reed pre-stuck see if you can still get the overdraw. This is to make sure your embouchure is correct. Now with some type of gaping tool (bent paper clip) slowly open the gap on the draw reed while checking to see if you can still get the overdraw.
Now you have to make sure you can play both the blow and draw notes equally well without them sticking. This all a bit of trial and error and as you do more of them you’ll get more comfortable adjusting both the blow and draw reeds in unison as necessary.
Tight tolerances help and proper reed shaping as with any bend is the biggest challenge.
An old harp and patience is the best way to find a setup that works. I’d try without embossing at first and then slowly emboss to see how it affects the response and tone.
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arzajac
1084 posts
Jun 20, 2013
12:06 PM
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Tookatooka: Well, the harp needs to be as airtight as it can be, especially on a higher key like D. The reeds need to be set for top efficiency and the gapping is the same as for overblows, except you swap blow and draw. There is a smaller margin of effectiveness, though.
Embossing will help a lot, especially at the base of the reed. By "a lot", I don't necessarily mean that more is better, just that you will get a lot of benefit from a little embossing.
You can send me a harp for service and I can set it up for overdraws, if you like.
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Last Edited by arzajac on Jun 20, 2013 12:08 PM
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harpdude61
1720 posts
Jun 20, 2013
4:11 PM
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If you are a throat bender and do overbends (overblows and overdraws) from the throat they all come much easier with a properly set up harp.
Still the overblow on hole one of my low F harps is slighty tougher but not bad. The 10 hole overdraw is pretty tough on my high G but do-able. I figure if I can get good control of these two, then all the rest will be easy.
You can find set up tips on here but the thing that makes them easy for me is doing it from the throat.
To do it from the throat you MUST drop you jaw and EVERY muscled from the chest up be dish rag limp relaxed. Start on say a Bb harp 6 OB. Play a nice big open 6 blow jaw dropped and relaxed. Don't change anything. Simply reshape the throat to alter the direction of your large mass of air from into the harp to covering the roof of your mouth from the back of your top teeth all the way to your throat. OVerblow should come.
The part I never hear mentioned is how this technique keeps your tone big and this large mass of air makes everything easy to control.
Sure I have to gap my harps, but not near as tight as other overbenders who do it with a small mouth. Sticking reeds is never a problem.
Passing notes do not have a different technique IMHO.
I'm serious about the larger the air mass you have at your disposal the more you can do. Goes for any type note.
I honestly have many harps that I can bend the 6 overblow up five, 1/2 steps and keep good tone and throat vibrato the whole way.
Using the throat you can go between 6 blow and 6 overblow almost as fast as you can warble 4/5 draw. Very useful and cool technique.
Overbends have been around a long time but I think they still have not reached the potential of techniques they can be used in.
How about double stops ..say 6 ob and 7 blow that gives a haunting dirty root/flat 7 on the 4 chord of second position No problem..or a warble between the two. Even overblowing two holes at the same time. This is great to nasty up your first position play because 4,5,6 ob are all blue notes. You can also warble between two OBs. The possibilities are endless.
The secret to OBs IMHO is huge air chamber total relaxation of everything, jaw dropped and do it with throat.
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