Oct 29, 2021
I am not an over blow player but...Last night I finally played my first overblow note in public on an original song. It was really cool, no squeaking just pure bliss. Not a big deal, just got excited that's all. It was in the key of B on an E harp 6 ob. Jason Ricci's tip on the technic really helped.
Oct 31, 2021
I find the 6 OB to be very useful and not that difficult if the gap is correct. The 6 OB seems easier for me on higher pitched harps than lower pitched harps, but that may just be my sloppy set up or playing technique.
I have noticed that if I get excited while playing I tend to use too much air and may get a squeal on the 6 OB. I do use the 6 OB at least a couple times each gig, but not in every song. I only play it when I want "that note" for the line I am playing.
The 4 and 5 OBs seem more finicky so I avoid using them at gigs. Since I haven't found them as useful as the 6 OB, so far I haven't spent a lot of time practicing them, so I guess I might find them more useful if I improved my setup and playing techniques.
I bought a C Crossover/MBD Spiers 2+ harp to work on overbends on a properly set up harp, and to try the 7 OD. The 4, 5, and 6 OB were easy to play on that harp. I found the 7 OD very unstable even on the Spiers 2+, but have not worked on it consistently. Since I seldom find the need for the 4 and 5 OB, and 7 OD, I haven't put in the time to perfect my technique.
I do not want to pursue chromaticism on diatonics (I have played chromatic most my life), and I do not want to have to buy all custom harps or put in the hours expanding my setup skills into more esoteric customization. I do basic set up on my harps and the useful 6 OB is not that difficult with proper gapping.
The 6 OB is a good note to have in your bag of tricks.