I love the way your brain works. Not only are you creative enough to think of the principals, but you are detailed and obsessive to a high degree to actually make these things! And to top it all off, you are able to navigate a completely new tuning of a harp and make it sound like you've been playing it for decades. I really hope to meet you someday.
Is the slide movement limited to moving one hole to the left or right? Does the movement stop directly over next the hole or do you have to learn to stop exactly over the hole.
I wonder if you can still cup the harp with this method. It seems like if you cup the harp in between both your hands a- la Adam Gussow, this harp might not work for you. On top of that I wonder how that might be compounded when holding a mic too. Don't get me wrong, I think this is a fantastic and innovative invention and have already looked up the price for one for myself but now I wonder if it can work for me and how I hold the harmonica.
Very clever. I've got one harp I set up so the covers attached with magnets. I stopped working on it because the parts kept getting stuck to other things. How did you get around that?
Ta for the comments. Re. Using the SlipSlider with handheld mic and cupping: to be perfectly honest I've been so immersed in the RnD that I haven't tried it yet myself! I'm in Istanbul right now, will test when I get home.
Intuitively I think it will be fine, as all the action happens with small finger moves on your left hand with the fingers staying on the covers. Not sure how it will be with Adam's holding style though.
@Nacoran: magnets are tricky things to control alright! The assembly process of the SlipSlider requires attention to make sure the things don't leap off your workbench and halfway across the room! They have 1.2kg pull each, so just prising two apart is takes a bit of force. But once installed in their respective positions they are fine.
The Manji version is in the works, and Easttop also. One size doesn't fit all unfortunately, still some fine tuning before they will be ready. Seydel's comb design is not so friendly to work with as there's less real estate at each end, might need a different approach.
A very creative approach to solving a "problem" no one knew existed.....who would have thought one could instigate bends where once none ocurred! ---------- The Iceman
You really must stop doing this. I can't keep up. Just when I think I've got my head around one of your concepts, another one comes out.
Great to see the collaboration between yourself, Zombor and Joel, great also that you now have the tools to bring these concepts to life. It sounds really good.
The saving grace for me at least is that we're at opposite ends of the world, so I'm not likely to to stumble on a jam with you in it, armed with a set of these sliders.
This may change at SPAH however. With any luck I might see you there. ---------- Tony Eyers Australia www.HarmonicaAcademy.com everyone plays...
Looking at Major Cross on this, all those wimpy little half step bends on the bottom become monster bends. Draw 7 is paired with blow 6, there's your blue third. Oh yeah, this is a game changer.
Just back in the UK from Istanbul and catching up with MBH. For some reason it's blocked in Turkey, and China. They must think our seemingly innocent discussion of blues harps is just a cover for some nefarious subversive activity...
It dawned on me when I was away that there is even more extra on the SlipSlider than just new bends. Because the harp is un-valved, players who use overbends can play as they normally do when the harp is in the neutral position, but add to it with new bends AND new overblows/overdraws when the draw reedplate is shifted to right or left.
With the right shift, your high-octave overdraws can be reproduced in the middle octave. Shift the drawplate to the left and your middle octave overblows can be reproduced in the high octave.
That means you can use the same overbend licks in two octaves. I assume that could make some players very happy :-)
For non-overblow players, that's where the extra bends come in: they substitute for the overblows/overdraws so you can play the harp chromatically with bends alone if you prefer.
This weekend I'll do videos showing the assembly of the finished parts to a harp, plus starting from scratch with the raw parts for the more hands-on types. If time allows I'll also try to demonstrate chromatic playing with bends and attempt to show some of the new overbends (though they're not my strong suit). Looking forward to hear what players with other styles discover on the SlipSlider - such as tongue-blockers :-)
Last Edited by BeePee on Apr 04, 2018 7:32 PM
Wow Brendan. You are an absolute treasure of invention - and execution. A modern harmonica Michelangelo. It's a wonder you have time to keep your playing chops up - but it's obviously not a problem! Thanks once again for your ongoing contributions to the evolution of this little instrument.
Thanks for all the comments. The SlipSlider is a really fun harp that keeps on giving - I'm finding surprising new things every time I pick it up.
For example, hole 1 blow can't be bent but it does develop a nice expressive quality in the right-shift position. That's because it becomes an isolated reed, with no draw reed partner. Compared to the standard 1 blow it has a purer tone, louder volume, and you can add vibrato - nice!
Also I find I'm choosing to use the shifted version of a note because it's more exspressive even without bending. 2, 5, 6, 7 blow and 8,10 draw just sound better in their shifted version, capable of real vibrato the same as the normal 8 notes you can bend on a harp.
Today we shot the assembly video; I'll post it in this thread soon.
Last Edited by BeePee on Apr 08, 2018 1:48 PM
