Do you guys set up your harps like Tinus shows on Overblow.com? I'm having problems with setting up hole 1 for the OB. I try to set the blow reed really tight so it chokes but then it doesn't sound very good and also after doing an overblow the sound go's really weak or almost disappears altogether. If i play the draw then it often kicks the hole 1 reed back into position but the sound is weaker. If i gap wider it sounds good but trying to get it to choke is hard.
Also what do you think about all the stages: embossing, arcing , gapping, tip scooping and another one i can't remember? Do you guys recommend doing them all or just one or two?
I want the best set up but setting things too tight makes the tone suck!
Most of us do some kind of reed adjusting...one doesn't have to go overboard with all the scooping, embossing at first.
At your stage of the game, I wouldn't spend time on 1 OB. Better use of your time would be in understanding the technique and applying it to 4, 5, 6 until you "own" it.
Hole 1 OB has its own unique set of challenges.
More technique understanding, less worry about the ultimate set up for all the OB's.
Others will chime in, I'm sure.
Good luck on your journey. ---------- The Iceman
Last Edited by The Iceman on Sep 09, 2015 9:45 AM
+1 on Iceman's opinion. Basic gapping and then spend your time on technique. There is no way you are going to get your harp perfect set up anyway if you don't know what you are aiming for.
If I were you I'd worry about rhythm, tongue blocking, chords, splits, third position, first position, 6 hole ob, acquiring fifty songs or so repertoire, fifth position, 7 hole od, then maybe some other overdraws. Oh and start on a chrome somewhere cuz that's cool, too.
More or less in that order... Personally I'm at first position (again). ---------- Pistolkatt - Pistolkatts youtube
Thanks guys. I think i'll do what you say Iceman as i'm spending too much time fiddling around trying to get this hole 1 OB. I think i'll try and perfect the others and then come back to it later.
I can get it the way Tinus shows on his site by choking the blow reed but can't get it normally.
It feels really hard trying to choke the blow reed completely on that hole so you don't get those nasty sounds of the two reeds sounding at the same time.
I'm trying to jump too quickly, i know that. But i suppose it's beginner fever where you're all consumed with new techniques and sounds and you're desperate to get them down.
"I try to set the blow reed really tight so it chokes but then it doesn't sound very good and also after doing an overblow the sound go's really weak or almost disappears altogether. If i play the draw then it often kicks the hole 1 reed back into position but the sound is weaker. If i gap wider it sounds good but trying to get it to choke is hard. ... I want the best set up but setting things too tight makes the tone suck!"
What's happening is that you are running out of dynamic range. You usually can't get a harp to overblow well just by gapping (but how good is "good enough"?) . Gapping can only do so much. Gapping trades off one thing for another. With more dynamic range, you get to have more of both worlds.
How do you increase dynamic range? The very first thing is to make the harp airtight. Without that solid foundation, you will be working against yourself.
Proper reed work will also greatly increase your dynamic range.
But all of this takes a lot of work. It's not like there is an easy shortcut.
"Also what do you think about all the stages: embossing, arcing , gapping, tip scooping and another one i can't remember? Do you guys recommend doing them all or just one or two?"
Some things build on the others. You can't expect embossing to give you very good results (may even decrease dynamic range) if you don't have an airtight harp. I suggest you start with the fundamental things and add elements as you learn how to do them. How good is "good enough"?
P.S. Save embossing for last. It's such a straightforward thing that folks usually do it first. And then they overdo it. Do everything else properly and then sprinkle on the embossing to add a little extra punch. But don't rely on it. It's not a magic bullet.
Overblows arn´t that big a problem in themselves -- I think most players with moderatte skills can handle them.
"Setting up" a harmonica, on the other hand, that´s another thing. Last attempt from my hands resulted in a broken reed and a perfectly good harp gone to waste.
Most harmonicas will yield to OB´s OOTB, even low quality stuff, but the newer range of S20´s have proven very responsive, in my experience.
