harpdude61
2127 posts
Sep 10, 2014
8:32 AM
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Is anybody worse than me?
With my band I can get thru a show with 7 different key harmonicas. A reed sticking or going out is always a possibility.
I keep three sets on stage for a total of 21 harps. At home, before each show I test each harp. Major scale and blues scale three octaves, all the bends and overbends, as well as tuning.
I have my cases marked one, two, and three with what I consider the best harps in case one. If I hear a little throb in my octaves you go to case 3! I use the cases that hold 7 harps that come with the set of cheap Hohner harps for about $20 and give the harps away to kids.
I used to get embarrassed if a harp went bad during a song, but now I make a joke out of it by dancing around my harp stand while pointing a finger with a scolding look at the harp that went bad. Usually good for laughs and applause. People know shit happens.
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www.facebook.com/catfishfryeband
Last Edited by harpdude61 on Sep 10, 2014 8:33 AM
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JustFuya
458 posts
Sep 10, 2014
9:08 AM
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I used to be paranoid about OOTB harps and learned to play around reeds that misbehaved. If I stick a reed while performing I move on while avoiding it (and maybe try to revive it in passing). If there is a break in the song I'll back away from the mic and exercise it or swap the harp out.
If I'm noodling I'll stop and work it out or grab another harp and put the offending one in the work pile.
Last Edited by JustFuya on Sep 10, 2014 9:09 AM
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Bilzharp
18 posts
Sep 10, 2014
11:24 AM
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I'm almost as bad as you, harpdude. The harp tray that I attach to my mic stand has 13 harps from low F to high F. My case contains an additional 10 harps for backup. I don't carry a spare F#, Ab or Db but I do have those keys in my main tray. I probably blow out 5-7 reeds a year playing live, mostly hole 4 on C,D or F harps. I've never needed a third backup harp for a given key, knock on wood. If I did, it wouldn't be too big of a deal to finish out the gig in third position with a different harp. I replace my own reeds so it's generally not a problem to have the harp repaired before the next gig. If I were on the road it might be a different story.
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blueswannabe
501 posts
Sep 11, 2014
4:39 AM
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changing harps mid solo is always fun.
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The Iceman
2044 posts
Sep 11, 2014
7:28 AM
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For some reason, probably based on technique and breathing the harmonica, mine (being 15 years old or older) don't seem to crap out when performing.
Have had one reed stick due to food particle while playing, which raises my challenge to continue on while avoiding this particular note or notes.
Sometimes I will hear a reed starting to go flat and will tweak it up the next day before playing again.
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The Iceman
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Ugly Bones Ryan
110 posts
Sep 11, 2014
7:46 AM
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Yeah I try not to play one harp all the time no matter how much I love it. That is how reeds break.
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harpdude61
2132 posts
Sep 11, 2014
8:33 AM
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Laughing my ass off...Ice Ice Baby...You find the little places to impart your perceived superiority and how you do it better. Yet you choose to ignore posts in other threads that completely prove your beliefs wrong. This thread ain't about how you play...lol..Gotta love him!
I don't know if you play 5 or 6, three and four hour gigs a month or not, but if a harp lasts you 15 years you are the man! If you can play rock/blues song with a non-improvised part that answers the guitar without the 4 draw then you are truly amazing.
I have seen Phil Wiggins in Bristol, Kim Wilson in Asheville, and Jason Ricci in Knoxville switch harps in the middle of a song when a note went sour.
Could you please type something up that I can send them on how to make a gigging harp last 15 years and how to play around a bad hole. Thanks!
Maybe they need to stop playing with their throat, forget the big sound, and go for thin, quiet, and simple.
At HCH 1, I did hear a young student ask Terry Bean what to do if a hole went bad while he was performing. Terry's answer.."Don't play that hole."
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www.facebook.com/catfishfryeband
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Frank
5281 posts
Sep 11, 2014
8:48 AM
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Accurate point Duane...It's easier to remain oblivious to the hypocrisy - but at least it's a good laugh :)
Lyrics added for spam monster :)
You're so vain, you probably think this song is about you
You're so vain, I'll bet you think this song is about you
Don't you? don't you?
You're so vain, you probably think this song is about you
You're so vain, I'll bet you think this song is about you
Don't you? don't you? don't you?
You're so vain, you probably think this song is about you
You're so vain, I'll bet you think this song is about you
Don't you? don't you? don't you?
Last Edited by Frank on Sep 11, 2014 8:50 AM
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DoubleJ
76 posts
Sep 11, 2014
8:49 AM
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Hey harpdude,
That's not paranoid. That's professional.
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The Iceman
2045 posts
Sep 11, 2014
8:59 AM
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Hdude...
Barbque Bob professes the same thing...breathe, not blow/suck. Does wonders to keep harmonica integrity and tuning for years.
I thought this was a thread about worrying about harps going bad. How one plays has direct relationship to longevity of instrument.
Having learned to breathe the harmonica in ALL situations took a while, but has resulted in positive results as well as a unique and personal sound.
There a communication issue called "you-ing".
This is when one person uses "you" frequently in communication. It is a way to assume that the speaker knows what is going on in someone's head and what the intent is behind their statements.
This is usually way off base.
Additionally, it serves to reveal the inner speaker more than the person he is addressing.
Turning our disagreement into something personal only wastes energy and has no upside.
Personal attacking is not only unprofessional, but against the forum rules.
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The Iceman
Last Edited by The Iceman on Sep 11, 2014 9:22 AM
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1847
2154 posts
Sep 11, 2014
9:05 AM
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the harmonica is a toy
toys break. get use to it.
my solution
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i get a lot of request when i play my harmonica
"but i play it anyway"
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Frank
5283 posts
Sep 11, 2014
9:10 AM
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More hypocrisy... yet still remains very funny - LMAO :)
Last Edited by Frank on Sep 11, 2014 9:11 AM
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dougharps
729 posts
Sep 11, 2014
9:32 AM
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I don't think it is paranoid. Perhaps, "Well prepared?"
I believe that if you are playing a gig you need to have backups. The show must go on!
I bring more than one of each key harmonica I will use, with backup mics and cables. I know I could switch and play the song in a different position on a different key of harp, but I already know what position is my choice for a song. If I am using an amp, I remain ready to use the PA if the amp dies. Sometimes I bring my EH 44 Magnum amp as backup. I will often bring a guitar chord or two and some 9V batteries. I don't gig playing guitar, but it doesn't hurt to have a guitar cable handy.
I don't bring a second PA... hmmmmmm.
Faulty gear is no excuse to have to stop a gig or avoid a key or a hole. A bad cable is no excuse.
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Doug S.
P.S.
I usually will bring at least 22 diatonics (1 set of 14 plus 8 more popular keys) and 8 or 9 chromatics (in 8 different keys) to a regular gig. Sometimes I may bring 2 full sets of 14 plus 5 more popular keys = 33 diatonics.
I seldom will have a reed go bad during a gig, though sometimes pitch on a note may not sound correct to me and I will set it aside to check later. Sometimes my experimentation with gapping may cause a temporary problem with a reed choking and I will switch harps.
Last Edited by dougharps on Sep 11, 2014 9:44 AM
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Jim Rumbaugh
1020 posts
Sep 11, 2014
9:43 AM
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I don't make a living playing harp so ....
I don't worry about harps going bad.
I don't worry about food getting caught in harps.
I don't worry about amps going bad.
I don't worry about forgetting words to a song.
I just have a good time and make music with what I got.
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theharmonicaclub.com (of Huntington, WV)
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harpdude61
2133 posts
Sep 11, 2014
9:52 AM
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Besides harps, I bring an extra amp, extra cables, extra tubes,batteries, mics, and extra tube of Chapstick. Summer outdoor gigs I bring extra shirts and underwear.
We do need to correct some terminology around here. No more draw or blow....for instance...." If you are playing 2nd position and want to get the flat fifth, you need to breath in bend hole four."
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www.facebook.com/catfishfryeband
Last Edited by harpdude61 on Sep 11, 2014 9:53 AM
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The Iceman
2046 posts
Sep 11, 2014
10:09 AM
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for brevity's sake, how about "hole four inhale bend"?
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The Iceman
Last Edited by The Iceman on Sep 11, 2014 10:21 AM
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nacoran
7996 posts
Sep 11, 2014
3:22 PM
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I had a discussion once with Christelle once on FB about the difference between playing loud and playing soft and tone. It's fairly easy to have good tone when you play loud. It's harder to have good tone playing soft. I think a lot of what we consider tone is controlling breath force and making it as steady (or in the case of vibrato as evenly unsteady) as you can.
Think of it this way- I don't even know what medical term they use to measure breath force- ml/second or whatever? If you are playing at 50 and you have a small pulse where you accidentally breath 5 ml/s harder you've varied your smoothness by 10%. If you are playing at 10 ml/s and you accidentally breath 5ml/s harder you've varied your smoothness by 50% and blown the whole thing up.
When we start playing we all play hard. It's rock and roll (or blues) and it's supposed to be played hard. That takes it's toll on the instrument pretty quick. That's fine if you don't mind blowing out your harps. There are lots of harmonica stores out there and there is a limited amount of time to practice. That said, if you chose to practice playing softly you can get the same tone with technique rather than breath force. It may well involve getting your setting just right on your amp, but it can be done, and like any other skill, the more you do it the better you will get at it.
Like I said, practice time is finite. You prioritize. If you want to learn to play without blowing out reeds you can get there. I won't say thats better or worse than playing all out. It's cheaper, and maybe not as much fun. If you want to justify blowing out harps as a tax on fun, that's fine if you can afford to pay it (if you can't and have no harps left you end up with no fun).
I've been playing roughly as long as this site has been up. In that time I've blown out 3 harps. One was the first time my friends brought over their amps. I was unamped and I was trying to keep up. Second was a little Piedmont that I deliberately played as hard as I could to see how much it could take (not an infinite amount, but a surprising amount!) and the third was a harp with some very tight tolerances that I played a lot more than the rest of my harps because I loved it so much. (It will get repaired eventually, but I've got too many things on my plate right now in front of it.)
It is fun to play hard. It's probably good for your lungs. It's not necessary to get good tone though.
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Nate
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First Post- May 8, 2009
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Frank
5288 posts
Sep 11, 2014
4:17 PM
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I seriously doubt that anyone can be any good at playin the harp unless they have blown out at least 250 to 500 harmonicas - I would love to be proven wrong...Tell us how many harps you have blown out, then record some of your playing and I'll bet it will correspond fairly closely to the number of reeds you have ruined :)
Last Edited by Frank on Sep 11, 2014 4:39 PM
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jnorem
553 posts
Sep 11, 2014
4:40 PM
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You really only need to breath through the harp, not blow through it or suck through it. Just breath, practicing good breath control, and you won't blow out harps at all, notwithstanding the occasional lemon.
They will go flat after awhile, but not as soon and not as often.
Really!
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Call me J
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GMaj7
522 posts
Sep 11, 2014
4:52 PM
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I just posted an article on this subject on my web site. Since I guess there isn't a lot of scientific research on the subject, It is largely theoretical but I think it is accurate.
http://1623customharmonicas.com/2014/09/09/reed-failure/
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Greg Jones
16:23 Custom Harmonicas
greg@1623customharmonicas.com
1623customharmonicas.com
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nacoran
7998 posts
Sep 11, 2014
4:55 PM
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Paging BBQ to the thread! Like I said Frank, I've only blown out three, and all were under tough circumstances. I'm not a superstar but I've put in a lot of hours learning. Maybe it's because I play mostly Lee Oskars? :)
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Nate
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First Post- May 8, 2009
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nacoran
7999 posts
Sep 11, 2014
5:00 PM
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GMaj7, read the article. I'm not sure I'd go so far as to say it's inevitable, at least short of some data on the swing arc of a reed- steel does not worry below a certain deflection. I haven't seen anyone work it out on paper but I suspect a lightly played steel reed harp could 'last forever' (assuming someone was diligent in always playing lightly enough to stay under that deflection point). In practice though, yeah, every harp will eventually have problems but you can dramatically reduce how often that will happen by how you play.
And I'll repeat, it is fun to play loud.
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Nate
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First Post- May 8, 2009
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1847
2155 posts
Sep 11, 2014
5:08 PM
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ok fine, i am breathing gently thru my harmonica
i want a note to sound louder
i can do this by blowing even softer?
perhaps someone, anyone
can record a video and show us, once and for all
how this is accomplished.
i for one, am tired of giving all my spare lunch money
to the nice fellows over there at seydel.
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i get a lot of request when i play my harmonica
"but i play it anyway"
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JustFuya
462 posts
Sep 11, 2014
5:24 PM
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I don't give up on harps so easily now; there was a time when a note would go out and I would take the harp apart. Never saw a broken reed. It was always spunk (spit/gunk). I'd clean it using various methods and revive it only to OOTB condition. At certain times it was pretty frustrating.
Now that I know better, I gap them OOTB and they become more dear to me. I clean them and still haven't broken a reed.
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arzajac
1466 posts
Sep 11, 2014
5:54 PM
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First off, I don't think the number of blown reeds is an indicator of harmonica greatness. I'm pretty sure it doesn't correlate with the number of hours of practice and I'm certain it has no relation to how well the player can move an audience by playing the instrument.
I would guess that the only thing it would correlate to is how much breath force moves through the instrument.
As far as the physics of blowing out reeds goes, I can tell you the feedback I get from customers - and I've heard the same thing from other harmonica customizers - is that harps that are customized/optimized (meaning they are airtight, good reed shape and balanced gaps) last longer.
There is no evidence because I don't know of anyone who has studied this objectively. But it makes sense to me. First off, if all the reeds respond to the same airflow (breath force/pressure) that's optimal. However, when one reed is less responsive than the others, I think players tend to hit it as well as adjacent notes harder which can lead to more wear and tear.
Second, when a reed is well shaped, it makes more sound and has better tone at lower breath force because more of it passes through the slot at the same time. That means there is less motion for the same sound. Again, less wear and tear.
Third, perhaps when folks spend a little more money (or effort if they work on their own harps) they play them with more care?
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Custom overblow harps. Harmonica service and repair.
Last Edited by arzajac on Sep 12, 2014 9:35 AM
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jbone
1754 posts
Sep 11, 2014
6:03 PM
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I play most all ootb harps. Mainly Manji for diatonic. There are some others like big River, SP20, even a Delta Frost or two. We don't play 3 or 4 hour gigs weekly, we do busk 2-4 times and play some 2 hour dates here and there. It took me some time to finally accept that with no amp I could not reach everyone in sight on a corner or at a farmers market. What I arrived at was, I need to play within the bounds of the reeds. That's it. Anyone who is interested is going to come by anyway and if you play halfway resonantly you do have decent acoustic volume and tone, so that's my answer.
I do keep doubles on several higher mortality key harps. I am not compulsive enough sometimes but as long as I have one extra, or can switch to a different position, I do ok.
JustFuya, I have in fact played so hard I broke a reed, several times. Or it would be at a point where touching it with a pick would break it. Nothing to brag about. Mostly these days when a reed goes I can replace a reed plate.
Not long ago I offered all my harps and reed plates to anyone who wanted them basically fro shipping cost and that still stands. I do not WANT to work on harps, I want to PLAY harps. Reeds will flat out, it's inevitable. I can live with that as long as I can get reed plates to swap out.
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http://www.reverbnation.com/jawboneandjolene
https://www.facebook.com/profile.php?id=100000386839482
http://www.youtube.com/watch?v=wa7La7yYYeE
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KingoBad
1529 posts
Sep 11, 2014
6:29 PM
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I haven't blown out a harp in years. I have cycled out a few that were a little tired, but love picking them up again later, as they all seem to have their own character.
I have played around stuck reeds before, but have never blown out a reed on stage. I practice regularly, and have gigs just about every weekend.
The only extra harp I bring is an extra A. I typically only play acoustically through a vocal mic.
I guess I just know my harps well enough that I trust them, and my ability to play softly enough to keep them alive.
I suppose I could jinx this and blow one out this weekend, but my guess is no...
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Danny
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GMaj7
523 posts
Sep 11, 2014
6:35 PM
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I personally believe through observation that reed polishing works to prolong reed life. My records and show that I've repaired about 1,000 Seydel reeds in the past year. At least in the case of stainless steel Seydel reeds there seem to be some success with using a reed 1 step above pitch and polishing down.
I mark every reed repaired this way and log it in my invoicing system. The harp may come back for additional repairs but the repaired reed rarely does.
I also have recently implemented a practice of always replacing the opposing reed on holes 8-10. In other words, regardless of the condition, I still replace it as my experience has been that those will go out soon after.
None of this is as good as practicing long sustained notes using a tuner and developing control. There are guys who rarely blow them out.. PT Gazell and Charlie M.. are noted..
At least in the case of Seydel, they have shown a commitment to providing replacement reed plates and making these replacement reed plates easily available. Additionally, they have partnered with techs around the world who are willing to provide low cost repair services.
I think reed failure is inevitable. Whether your passion or profession, you simply have to plan on replacing them now and then just like golfers change balls, guitarists strings, and runners wear out shoes.
If you have played A-1 brand harps for 30 years and never blown one out.. by all means. .. DON'T CHANGE...
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Greg Jones
16:23 Custom Harmonicas
greg@1623customharmonicas.com
1623customharmonicas.com
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harpdude61
2134 posts
Sep 11, 2014
6:38 PM
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I've been listening to Cotton a LOT lately. Don't tell me he is breathing thru the harp at a steady minimal rate. No way could he do the dynamics he does without varying breath force. He honkin! Of course that harp could stand up to that 200+ shows a year for 15 years!
Tell me at the 3:00 mark if he is simply breathing thru the harp. Again at 4:25.
Again, he is a throat player and that big resonator makes first position fat! IMHO
I just found this. Not sure it has been posted here before. What a treasure. COTTON IS KING!
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www.facebook.com/catfishfryeband
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JustFuya
463 posts
Sep 11, 2014
6:44 PM
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jbone - I'm not bragging. If anything, I'm showcasing my ignorance. In 50 years of playing I may have broken a few reeds but in the early years I never parted with a prized musical, mechanical or electrical possession without ripping it apart and applying first aid. In the 80s & 90s harps weren't so prized because by then I knew what was inside and I was helpless (ignorant).
I'm very happy to have been introduced to the gap about one year ago. I'm almost ready to emboss but not quite. It's taken me a year to .5 ass gap and I need more magnification these days. Once I perfect 1.0 gapping I will attempt .5 embossing but that's another thread.
In the meantime, I love farming the details out to a mechanic I can trust. Good mechanics are hard to come by and always busy. Just ask Joe. I have no doubt that there are a lot of Dodge owners that wish he hadn't changed interest.
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The Iceman
2048 posts
Sep 11, 2014
6:47 PM
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Use of excessive breath force isn't imperative to fill the room with the sound of a vibrating reed.
It can be done by normal breathing coupled with diaphragmatic support, pre yawn throat attitude, relaxation and efficient use of your air.
I believe there is a point of diminishing returns at a certain level of additional force.
I also believe there is a wealth of tone and volume to be discovered when one learns where that point is and chooses to explore the area just below it.
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KingoBad
1530 posts
Sep 11, 2014
6:47 PM
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I still play hard, just not too hard.
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Danny
Last Edited by KingoBad on Sep 11, 2014 6:48 PM
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JustFuya
464 posts
Sep 11, 2014
6:53 PM
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RE: Cotton video - He is not exercising the low end reeds. He is doing exactly what the instrument can handle at the top. Short reeds are not as vulnerable.
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harpdude61
2136 posts
Sep 11, 2014
7:15 PM
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JustFuya...Agree to a point. Short reeds are not as vulnerable because most players do 90% of their playing from 6 hole down. If longer reeds went bad without consideration for amount used then hole one would always be first to go.
My point was his varying breath force. He plays harder than normal breathing.
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www.facebook.com/catfishfryeband
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JustFuya
465 posts
Sep 11, 2014
7:18 PM
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Repeating a post but @ 2:50 there is a harp failure. He got over it post haste. The only ones who noticed were OCDs like myself. I wasn't distracted the first 20 times I heard it so I guess I'm not that great.
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jbone
1756 posts
Sep 12, 2014
3:25 AM
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JF, I was referri8ng to my own self sir!
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http://www.reverbnation.com/jawboneandjolene
https://www.facebook.com/profile.php?id=100000386839482
http://www.youtube.com/watch?v=wa7La7yYYeE
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The Iceman
2050 posts
Sep 12, 2014
8:03 AM
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Cotton is interesting from a technique standpoint.
In teaching students, they learn effective breathing to fill the room with their sound.
However, I tell them that James Cotton is an exception, as he BLOWS HARD. If they want to play like this, I suggest they find a different teacher.
Cotton plays with large personality and force of nature. It is his signature sound.
I like it, but wouldn't want to play like that.
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The Iceman
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dougharps
731 posts
Sep 12, 2014
8:14 AM
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If a player has developed deep tone with light pressure (breathing not blowing/drawing), can play both fast passages and slow, has confidence that they can maintain this in the face of poor monitoring, loud bands, and getting excited, and they have faith in their harmonicas, then certainly they can do without back up harps.
My breath force has improved over the years, and my harps last longer than ever (despite being tighter than ever before), but if I am playing a gig I sometimes have trouble hearing myself, I sometimes get excited and use too much force, I sometimes have a gap set too tight, and a harp reed may fail or lose pitch in the midst of a song. I prepare for possible failures and hope that there are no failures.
When being payed for a gig, we each should do what will allow us to play the whole gig at our best...
Professionalism
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Doug S.
Last Edited by dougharps on Sep 12, 2014 8:16 AM
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The Iceman
2051 posts
Sep 12, 2014
8:25 AM
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dougharps..
good observations. Hearing oneself on stage is key. I prefer to play with low volume musicians. If not possible, will use BOSE (w or w/out harp amp, depending). This insures a full bodied "monitor sound".
If the situation is rock and roll and I can't hear myself, will usually not play at all rather than fall into the emotional trap of BLOWING HARD to overcome excessive volume. BLOWING HARD doesn't usually solve anything - if band is that loud, the harmonica won't give up enough extra volume to punch through. Have witnessed this also in acoustic jam circles where the guitars drown out a well played harmonica.
Since I go for my own sound/tone achieved through relaxed breath control, there are situations in which I will not join in because it tries to force me to play outside of my "sound".
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The Iceman
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tmf714
2697 posts
Sep 12, 2014
8:30 AM
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I have noticed the reed failure rate drop significantly since I started tongue blocking. Cotton tongue blocks all but the top register.
I think I have had to send 3 harps to Richard Sleigh for tuning in 8 years.
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RG500
13 posts
Sep 12, 2014
8:47 AM
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Throat bending may be harder on reeds. I like to bring
back up harps to gigs.
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JustFuya
474 posts
Sep 12, 2014
9:20 AM
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I've been in situations where I couldn't hear myself on stage. I've only rarely touched the dials on others equipment and it has mostly always been that way. Others stuff and others gigs. If I'm deaf to my own noise I'll sing badly rather than ruin a good harp. Who cares?
I can do anything when nobody hears and it's usually fun for the rest of us. If I'm dealing with a sound bogart I'll do something visual. Not everyone gets it but the rest of the band usually does and we crack up.
EDIT: jbone - I wasn't picking on you. Duos have always been perfect for me. Less ego and more blended music. If you have 5 members you have 5 heads. It can be a blessing or a curse.
Last Edited by JustFuya on Sep 12, 2014 9:27 AM
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DannyRanch
8 posts
Sep 12, 2014
11:07 AM
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It is interesting
I bought a Regular Marine band (C) and a Crossover (A)
Almost a year ago. When I'm practicing scales and patterns and most stuff I use the Marine Band, at times I have played 10 hours that day using only that harp (as is the one I know the notes/intervals the best)
I adjusted it out of the box, and works smoothly, I clean it once in a while and after a year of intense playing/practicing its real solid.
The crossover on the other hand broke a reed recently as I commented on a post I made on a similar topic.
The crossover was rarely played on my practices but it still died after a year.
So I don't think is about that, of course, when performing/jamming several harps/keys are used to avoid the reed to getting stressed, and of course spit and whatever could affect the reed vibration/sounding for a while so thats why its a great idea to keep changing and let em' rest
Last Edited by DannyRanch on Sep 12, 2014 12:23 PM
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JustFuya
479 posts
Sep 12, 2014
1:12 PM
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I went to GMs because they are like bricks. If you hurt them it pretty much has to be intentional. I thought I liked the sound and action of COs but I'm plotting a way to close the sides. Too bright.
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boris_plotnikov
998 posts
Sep 12, 2014
5:52 PM
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I'm very paranoid. When I played brass reeds I had up to 5 harps in one key, as if I found slightly out of tune reed, I retuned it back and got a new harmonica to rely it, the previous one gone to spare set.
Now I have to sets of stainless steel Seydels, and get spare harps only for keys I plan to play at gig. Actually I don't use Db, LDb, LEb, LE, Eb, E and F with my two bands (while I use B and LF#), so I always have spare LC, LD, LF, LF#, G, Ab, A, Bb, B, C, D with me and if I go touring for more than one gig I get set of spare reeds and tools for reed replacement.
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Excuse my bad English.
My videos.
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SuperBee
2198 posts
Sep 12, 2014
6:58 PM
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I just carry one spare G, A, Bb, C, D and F. I have space in my tray for 13 harps so sometimes I'll ditch the spare G and or Bb in favour of an Eb, Ab, E or Lo F depending on the gig. But I'll always have a spare A C D and F
2 backups though...no, I may be living in a fool's paradise I guess but I only take one.
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garry
531 posts
Sep 12, 2014
7:08 PM
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i blew out a number of harps while learning. the better i got, the longer they lasted. to think that you need to blow out 250-500 harps to be able to play is ludicrous. Jason was the one who taught me to play quiet and let the amp make it loud.
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BronzeWailer
1449 posts
Sep 13, 2014
12:28 AM
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Blowing out harps is a rational fear in my case, although I am doing it less frequently than I used to. And yes, I was sucking on them like I was siphoning gas from an 18-wheeler.
I carry the whole catastrophe with me wherever I go.
I learned my lesson early in my busking career. The first guy I busked with played slide only in G. I blew the 4 draw on my (only) C harp so had to improvise the rest of the night.
BronzeWailer's YouTube
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