You said it. Airtight, bendable, noiseless, unfailing slide mechanism, long-lasting, non-buzzy, non-sticking valves, fluid high-end, comfortable mouthpiece, affordable. Is something like that made today?
On a limited budget, I am not able to try every make and model. I'd love to try more. The 2016 is very good, but the valves tend to stick once and a while(even in Summer)and the top two reeds are not so fluid. It's still my favorite.
The Hohner 270 I never liked so much, and the Seydel Deluxe is nice, but doesn't last. The Spring tends to break, and there are some other weaknesses.
I've had good luck with the hering chromatics and I noticed at the bean the Dougharps played a hering and he could tear it up on that chrom. ---------- Wisdom does not always come with old age. Sometimes old age arrives alone.
What the suzuki 30 brings was already there. Overblow and overdraw gave the diatonic full chromatic scale and you can bend every overblow/draw. You just have to be rigorous and put some work to it to get them to sound like any other note. Double or triple overdraw are used by some really skilled player and even "amateur" are getting to play along with them.
So i doubt there could be a similar features for the chromatic crowd since what the suzuki 30 bring is just the same dish with a different presentation for all of those that saw "i don't eat those overblow" in the same tone as "i don't eat no spinach"
Sirius by Suzuki--a better chrom, but not cheap. I also like the SCX series. Oh, and I am the repair guy for Suzuki USA, so if you have trouble with one, I will be taking care of you.
The future is already here. Simply change the tuning so every draw is at least a tone above every blow, and remove the outside valves. Then every draw will bend like a diatonic. This is what I do on my chroms:
Even with standard Solo tuning you can get a lot of bending expression by removing the outside valves on the odd-numbered holes 1,3,5,7,9,11
The good news is that modern chromatics (like the modestly-priced Suxuki SCX V2 series I use) have very airtight sliders, so it's possible to remove outside valves without a big loss of response. Try it!
So on "C" chromatic, for example, you'd basically tune the F up to an F#, but the rest could remain as is? You wouldn't change that B draw, C blow breath reversal at the end of each octave, would you?
Not that I am planning to do this, but I just want to make sure I'm following you...
@ robbert: There are various tunings that allow you to half-valve and bend all the draw notes. Here are diagrams for 12 hole chromatics (blow note to the left, slider raises all notes one semitone):
DIMINISHED is a very good one: CD EbF F#G# AB CD EbF F#G# AB CD EbF F#G# AB
So is WHOLETONE: CD EF# G#A# CD EF# G#A# CD EF# G#A# CD EF# G#A#
The main one I use is POWER CHROMATIC: CD EF# GA AB CD EF# GA AB CD EF# GA AB
That's what I played on the video clips above. However, instead of starting on the C I normally have Hole 1 starting on the G or the A blow.
I vary the tuning sometimes, and use some other chrom tunings with draw bends for ethnic styles, but that is my main one for improvisation and bluesy/jazzy material.
I'm going to write a book/CD on it for release in 2013.
Last Edited by on Sep 02, 2012 2:23 AM
I'll have to study those tunings...and tunings in general for both chromatic and diatonic is a topic so worthy of a book! From my stand point, that would be a very useful tool. The subject of tunings is somewhat nebulous territory from where I sit, and understanding what can be done with them feels like it could be enpowering, to say the least. You've proven that!
I wonder, though, about relearning and investing time in getting familiar enough in various tunings, to be able to play well...I guess there are trade-offs. You've obviously found that relearning to play with your Powerbending tuning(and valves?) has given you greater access to a variety of scales, with consistent tone throughout, something not really possible with overbending(consistent tone).
Anyway, a great subject, and I look forward to that book!
