Is the gap related to the volume?
Sun, 03/31/2013 - 04:08
Hi Kinya,
I'm using a Manji in A. I noticed that the hole 3's volume is lower than the others (from holes 1 to 6) and just a slightly harder to blow/draw
Does the gap size affect to the volume? Or it's just the nature of hole 3?
Thanks.
Simon
Hi Simon
Good to hear from you.
YES, is simple answer to your question, "Is the gap related to the volume"? But a more rigorous response would come from the most important lesson taught to me by Rick Epping, former Hohner USA Harp Tech Expert. "A well playing harmonica is the result of many little things done right".
So let's break this down:
REED GAPPING
You mentioned the reed gap (referring to the free end), but what about the .002" distance of the reed above the reed plate on the the rivet end of the reed!?
REED PROFILE
From a side view, how does the profile of the reed look as it swings in and out of the reed plate slot? Does the tip of the reed dive through and back out first ... how about the middle of the reed, is there a hump that causes a latency (hesitancy) in the action of the reed? As demonstrated in a prior Harp Tech Study, like a door, the entire length of the reed should swing in and out of the reed plate slot evenly.
FLAT MATING SURFACES
The flatter the reed plate and comb surfaces, the more airtight the harmonica will be (almost as if the two surfaces were bonded together). Mitigating air loss through unwanted crevices is one of the best methods of increase volume and responsiveness of your instrument.
REED PLATE SLOT SIZING
Reducing the tolerance of air space surround the reed (see the sliver of light peering through) is also another method of air management. Have you ever tried to blow up a beach ball with a hole in it?
Speaking of volume, I remember the time when Jason Ricci visited the HARPSMITH shop. We performed a sound test with the vacuum table. The decibel increase of the customized reed plate was significantly "louder" over the stock reed plate.
ONE FINAL THOUGHT
Hole #3 is probably the most important for the Blues Harmonica Player. Relative to a C harmonica, we have one natural blow note (G), one natural draw note (B), and three draw bent notes (Bb, A, Ab)--a total of five notes in one hole! This means, during the bending process the #3 blow reed is actually resonating the Bb, A, Ab notes.
For numerous blues (2nd position) harmonica players, the #2 draw (G) reed is used more frequently than the #3 blow (G) reed. For this reason, harp techs are less concerned about stalling (locking up) the #3 blow reed; and therefore, lower the gap of the #3 blow (G) reed to facilitate considerably easier draw bending on the #3 hole.
My recommendation is for you to increase the gap of the free end of your #3 blow by .002" and decrease the #3 draw reed proportionately, then decide if you like the results ... adjust more/less to customize to your playing style.
This is a good topic. Readers will want to know your thoughts.
Your Harpsmith,
Kinya