Imagine Having Access to 50 Bendable Notes!

Hello Harp Techs

Typical Richter tuned diatonic harmonicas have twelve (12) bendable notes [8 draw and 4 blow].

10 Second Theory: missing notes (aka, bendable notes)--are found hiding in between the blow reed and draw reed in the same hole. For example; on the C harmonica, the blow note located in hole #3 is G, on the draw reed is B. Counting the number of half step notes (semitones highlighted in yellow), from B to G = Bb, A, Ab. There are 3 draw bendable notes available in hole three.

Imagine a diatonic harmonica that offers you fifty (50) bendable notes [31 draw bendable notes and 19 blow bendable notes]. From the workshop of our friend Brendan Powers, comes another innovative diatonic harmonica, the “SlipSlider”. The bottom reed plate easily slides to the left<~>right to alter the relationship between the blow and draw reeds.

Examples on C SlipSlider:

With the draw reed plate moving one slot to the LEFT; Blow reed #3, G remains, with #3 Draw reed becoming D (formerly B). This will provide the player with the following bendable draw notes (highlighted in yellow): Db, C, B, Bb, A, Ab = 6 bendable draw notes (standard harmonica has only 3)

Available Bendable Notes with Draw plate Moved to the RIGHT=>

With the draw reed plate moving one slot to the RIGHT; Blow reed #8, E remains, with #8 Draw reed becoming B (formerly D). This will provide the player with the following bendable blow notes (highlighting in blue): Eb, D, Db, C = 4 bendable blow notes (standard harmonica has only 1)

The foundation of the SlipSlider is the extremely popular Hohner Special 20 diatonic harmonica

The Hohner Special 20 harmonica held in the typical method

Effortlessly, with the thumb, the draw reed plate/cover plate slides to the left for (31) bendable draw notes

Sliding the draw reed/cover plate assembly to the right will give the player access to (19) bendable blow notes

Innovative magnet fasteners replace machine screws (binding bolts) for near tool-less maintenance access.

Post shaped magnets are pressed into all four holes of the two cover plates--perfectly nesting to the comb (through the reed plate hole).

Removal of blow and draw cover plates does not require any tools--simply “pull” apart. Typical harmonica assembly would connect the top reed plate to the bottom threaded reed plate with machine screws. However, with the SlipSlider, the top reed plates are screwed directly to the comb with screws.

Notice the vacant threaded holes of the draw plate. Both the draw reed plate, and cover plate are held in place by magnets. In fact, when the cover plate is snapped to the draw reed plate, they form and move as a single slide-able unit.

This 3D manufactured magnet holder is fastened to the middle of the draw reed plate. It’s function is to enable “flatness” adjustment of the draw reed plate (airtightness aside, the draw reed plate will track against the surface of the comb, demanding flatness) The closer the magnet to the inside of the cover plate--the middle of the reed plate will bow upward, and bow downward towards the comb--when the magnet distance recedes. Notice the back cover plate support bracket removed from the comb.

The draw reed plate has been sanded for flatness. On this side, Brendan applies a light coat of petroleum jelly (Vaseline) to help make the reed plate airtight and slippery. The plastic post functions as a stop post to limit the draw reed from sliding “off the rails”

This view of the draw side of the comb reveals: (a) the range the stop post will travel within the milled slot, (b) the magnet embedded into the former cover plate screw tunnel, and (c) the comb’s end piece cutaway (left side not shown)

Attention Harp Techs, don’t miss the opportunity to trim away the sprues located inside each slot. These were the injection tracks left in place after the comb was injected molded and unnecessary for us.

Clearing away the ten sprues will allow greater tool access when adjusting reed gaps and tuning. This is especially important with an assembled harmonica, because you can save time by inserting the reed tools through the mouthpiece holes (not shown)

My Impressions

As with all bending techniques on the diatonic harmonica, including overblowing, learning to play “musically” pleasing notes on the SlipSlider will require diligent practice (read: patience). As a hybrid embouchure player myself, I found playing all the bendable notes extremely difficult and preferred lip blocking instead. Today’s contemporary diatonic harmonica playing style demand access to more notes. With practice, the SlipSlider Harmonica by Brendan Powers could be your gateway to achieving your playing goals.

Currently available directly through Brendan Powers http://www.brendan-power.com/

Your Harpsmith, Kinya