I'm still new @ the game, and having some problems and wanted to see if you guys could help me out. On my "G" harp my 2 draw (no bend) seems to be not as powerful as the other draws. It bends like a champ, but straight it just sounds wimpy, compared to the other draws. I get no volume or power no matter what I try. Any suggestions?
On another question, I find on my different harps, some holes bend easier. For instance, I may bend the 4 draw on the "D" & "A" harp great, but then have problem bending it on the "C" harp. Does this mean I need to do some work on the reeds as shown in one of Adam's video lessons?
I'm using a Special 20. I've been playing almost a year and a half. I'm not having any problem with the two draw on my other harps with volume and power..... at least it doesn't seem so.
It's strange that it plays ok bent but not unbent, plus the issue on the C harp. Those are what lead me to suspect it could be technique based. To rule that out I'd try regapping the reeds in question. Just follow Joe Spiers YouTube videos on gapping to see how to do it. His user name on YouTube is choppajoe. There are three videos in total which cover gapping technique.
Will do..... Gapping, this is adjusting the reed, right? I was thinking it (the two draw on "G" harp) sounded as though it might be too loose unbent. Is this what you mean?
As for the various bending ability on my different harps, I know technique is part of it for sure... but, is it getting the reeds adjusted correctly part of it as well? Is this the gapping?
Gapping is the offset of the reed in relation to the reedplate. A properly gapped reed will play correctly under both soft and hard breath pressure without stalling. Joe's videos will explain it better than I can I'm sure.
Certainly having gaps properly adjusted for your style is very important and may be a source of differences in notes sounding and also in ease of bending.
However, the issue of technique mentioned above by Kingley is also a strong possibility to consider.
Below is a video by Steve Baker on "Tone" (previously posted on the forum) that gives the best illustration of how your resonance (if not in tune with a note) can conflict with the note you are playing and even cancel out the note.
Prior to seeing this video I knew that using resonance was linked to improving tone. I was not aware that it could actually stop a note from sounding, as Steve demonstrates by deliberately creating conflicting resonance for a note. Pay close attention around 2 minutes.
It is possible that you need to continue to develop your ability to shape resonance when playing the problem notes, and this will help.
In another thread it was recently noted that it could take five years playing harmonica to develop the ability to sound reasonably good.
I have played much longer than 5 years, and I continue to learn and to improve my playing and to improve how my notes sound. ----------
Wow, great info as always! Thanks. I must say the info and insight is wonderful and really appreciated by us newbies. I play alone, and know of no other harp players in my area to ask questions. I must admit I often feel lost. It is really great to read what all of you have to say. Thanks!
I've got a similar issue with a 3 draw on both a MB and a Sp20 yet all my other harps sound and play really well. I tried gapping and lightly embossing but they both sound "dull". I thought it must be my playing but am now not so sure.
If you're having the same problem on two harps, it's probably a technique issue. Try letting more experienced players try them and see what they think.
Gerry - Take off the coverplates and plink the reed until it rings like the others do when plinked. You may have some light burrs from the embossing that are not allowing the reed to react properly. Also make sure the reed is aligned correctly in the slot. When embossing reeds it's very common for the reed to misalign.
Last Edited by Kingley on Apr 09, 2013 10:16 AM
