That's what I'm thinking today. I love Special 20's, Delta Frosts, Bluesmaster, and Manji.
But...
Today I'm going to work with my C Special 20 and a Big River. And I hate to admit it, The Big River Sounded better to me and plays a little better on the 1 and 2 hole. (though I still don't like the plate sticking over the comb) I hate to say, but that cheaper Big River was FINE. I prefer it over my Promaster.
So I have come to the point, after 10 years, that I say, If it's in tune, I'll play it. I saw Adam Gussow take a $2 plastic Honer harp that we give away and hit overblows. And my friend Dick King is happy but not over joyed about his Harrison B-Radical. It can't all be about the harp.
(Yes, stay away from the real cheap stuff)
I say, "it's the player that makes the difference" ---------- intermediate level (+) player per the Adam Gussow Scale, Started playing 2001
Last Edited by on Apr 07, 2011 10:04 AM
I'm there with you Jim. I haven't tried 'em all by far, but experience tells me that whatever works, works.
In fact, as the time goes by, I find myself liking my Hohner MS Blues Harps more and more despite the popular opinion that they are not so good.
As a bonus anecdote, I was digging through my old blown out PMP (Pre-modification period) harps last night in search of extra hardware. I played every harp that was playable and they all sounded great -- much better than I remember them sounding the day I retired them. It was a nice reminder that my technique has come alot farther than I realized.
I'm not sure, but you're right, the MS Harps do seem to take very well to "customizing".
I think the thing I like about them is that the tolerances are not very tight to begin with so when I finish embossing the results seem to be much more dramatic.
I've tried flat sanding the combs and usually end up making them worse. Now I just sand the front of the tines and re-seal them and the insides. For the most part, the combs already seem very flat (I can't see any light leaking through where the plates meet the comb when they are assembled.)
I've set some Blues Bands and Piedmonts to play acceptably. (I'm not an overblower.) Plastic covers are really quiet (which can actually be a good thing if you have to practice around someone else). I love the sound of MBs but they tear my lips up and I can't afford a set of customs. I love the feel of Seydel Blues Favorites. It's all trade offs. I've got more LO's and SP20's in my box than most anything. Why? A lot of it has to do with them being really comfortable to play (although I have to keep my mustache trimmed for the LO).
If they were a little louder I'd swap Piedmont covers onto a bunch of my harps. The plastic is more comfortable and doesn't seem to crud up as quickly as metal covers. $3 harp cover. Just a little too quiet. I wonder what would happen if they opened up the backs a bit. They'd have to reinforce it with maybe a metal screw or something. If they wanted to make a premium plastic cover they could maybe make a metal under wire for it and slap the plastic over the top. (Piedmont covers will fit on SP20's and, I think, any of the standard line harps, (Blues Band, Pocket Pal, etc.)
I think, in general, as you go up in cost, you get a more comfortable harp (Piedmonts aside), better quality control and a louder harp. The tuning makes a big difference in what sound you'll get, but for a single note tone and bending is all about you.
I think it has to do with what you learned on and have success with. I learned on some old MS series that were pretty beat up so it was tough to tell how I was doing. When it was time to spend some money and get "better" harps and other keys, i bought some special 20's and had nothing but problems. It was part me and part bad harps. I then bought some suzuki bluesmasters and a whole new world opened up to me. Suddenly I could play single note and bend much more consistenly. coincidence? maybe, but I noticed it and have stuck with Suzukis ever since. I mostly play Manjis now but I have my old Bluesmasters that I still go back to. So to me, my bluesmaster in G is the "best harp". I am sure everyone has a story similar in some way.
We should tell: "This harmonica is the best FOR ME" or "In my opinion this model is the best". This is very subjective thing/feeling. So for me :o) the best model ever is Seydel 1847 Classic. It makes me better harmonica player :o)
@nacoran - if you are playing SP20's and dreaming about open back plastic snap on covers you are channeling Dr. Antaka and the turbo lid. Order up a cherry red one and be pleasantly surprised.
Bluemoose, I've thought about a Turbo lid. My problem is I'm usually a impulse buyer. I blow the money I was saving for something online whenever I walk into the local music shop, and they only carry LO and Hohner.
I'd like to try Turbo's magnetic bending harmonica too, but for $150 I'm going to wait for the final version that they say they are working on in the same video they try to sell you the not finished one. :)
I agree with gene that the musician has his own sound, the acoustic instrument (without amplification) it's about 10%, maybe 20% of final sound. Of course good instrument can gives you comfort and inspirations, but the most important element is player! That's it :o)
I have to agree with Jim that there is no 'best' harp. But there are some really crappy harps. I find I have favourites amongst Suzukis, Hohners & Lee Oskars & usually it comes down to eg me thinking a certain tune sounds better on this c harp instead of that. Of course there is a big difference eg comparing a Marine Band with its beautiful crunchy/ raspy tone to a Suzuki Promasters cleaner tone. So I love them both but for different uses.
I'm starting to think everything is give and take.
If it plays easy, you can't blow real hard and wail. If you can wail on it, it takes more breath. If it feels good, the tone suffers. If the tone is good, It feels funny to play.
Like Aussiesucker said, different harps for different needs.
Now I will modify my original complaint a little. I will work on a harp (some) to make it play the way I want. If you don't or can't or don't want to work on a harp, spend a few dollars more so you are LESS LIKELY to get a dud. Otherwise, I like (or can like) all the medium grade and up harps. ---------- intermediate level (+) player per the Adam Gussow Scale, Started playing 2001
I agree with the sentiment here...the best harp is the one in my hand!
I've been putting my efforts lately into the physiological side of our instrument...embouchure and diaphragm.
I was just playing tonight, articulating notes, chords, vibrato, only with the diaphragm, not tongue or anything else, that was the best tone I ever heard myself produce! ---------- Shane
I just got around to watching the video you posted. What is shown is the SAME $2 harp I gave Adam Gussow and he blew overblows. ---------- intermediate level (+) player per the Adam Gussow Scale, Started playing 2001
The best harp is perfect harp + perfect customizing. Any stock harp makes me play worse (no overblow, no overdraw, weak bends). Any harp that was customized by me more than 2 years ago makes me playing worse (reed sticks, overblow is flat and dirty, overdraw squeeeze etc.). ---------- Excuse my bad English. Click on my photo or my username for my music.
having struggled with poor quality harps for years off and on, and having sought the "perfect" harp- a quest i have mostly let go of- i will play a wide variety of harps and make them work for me. each harp is indeed different even in the same lot of the same model. other than a bit of gapping and keeping them clean, i don't mess with harps other than to play them. i get along pretty well.
my preference is at least middle of the road quality and above. but in a pinch i've gigged with a $5 harp or 2 and made it work for a night at least.
the most durable harp i've used is a manji and i have managed to flat the 4 draw reed, it just took a lot longer to flat out. over a year as opposed to some harps i've used that gave me 1 or 2 gigs.
it's a compromise imo. decent harps and decent playing style ie eliminating bad habits like way overdrawing on bends, using an amp or p.a. to get the sound out instead of mistakenly believing that if i play harder i can overcome the full band turned up to 11. keeping harps in a case and keeping them clear of lint, hair, food, etc etc.
jim, there may be a perfect harp out there, but since i am NOT close to perfect, it may be lost to me.
After two years on this forum and buying several different harps that I didn't knew about before (MB deluxe, Promaster V, Manji, Hering, Seydel blues session... I have come back to the type I played for more than ten years, Hohner Bluesharp, and I feel I'm more comfortable with those than with any other, at least for blues playing. Plus, I blow them off less often, they are available at the shop when I need one, and they are at a reasonable price.
But it's good to have different types, to get a different sound sometimes, or for playing other musics.
I also found out it may depend the key ; to me, Bluesharps are better in the "middle keys" (from A to E). So I play a G SP20 and a F seydel BS.
I've tried some Hohner MS harps recently and can't complain. They are solid harps with just gapping. I haven't tried to mod any yet.
I've also tried several of the 1847s. Nice harps for sure, but I can't see one being used for OBs and ODs without modding beyond gapping. Also, IME, the claims of the steel reeds not falling out of tune and being more resistant to failing are very overstated by consumers.
I tend to treat each key differently. Meaning the perfect harp in A is rarely the same model as I want to play for D, etc. At the end of the day, though, any mid level to high priced harp can easily be giggable.
However, I am a firm believer that ANY harp OOTB needs to be gapped to the player's needs. I would never judge any harp before going through the gaps as there is no way any company can be held totally liable for a harp not playing great OOTB when every player wants something different. ---------- Mike Quicksilver Custom Harmonicas
I am in love with my Harpmasters. I have some SP20s , bluesmasters, promasters, some cheapies, a few others. For me the best combination of sound, comfort , loudness, etc comes from the Harpmaster. The only problem is I don't have all the major keys in them. I have a few in the above mentioned SP20s.. the problem is the harps are not the same size so it takes me a few sometimes to adjust one way or the other hehe
Simple is better. Ya, you can magmabitiz most stuff and say oh we're harnessing the primordial feral oxide borialus forces or build a fancy trebuchet to sling stuff all over the neighborhood but what you really need is just an elastic band and folded paper clip and then you'll see plaster carnage me boy'o. (Take it from me and the detention hall supervisor!)
What you want is a cherry red turbo lid wrapped around a jet black b-flat SP20 comb.
Last Edited by on Apr 07, 2011 8:38 PM
