zero point
Happy Thanksgiving Kinya. I would like to hear your thoughts on comparing the use of "pliers/toothpick" technique compared to machinist vise in setting zero point and is it worth setting zero point on reeds 7-10. Mic
As usual, KUDOS to the MASTER. Thanks Kinya
Let us know how things worked out for you!
Your Harpsmith, Kinya
Hello Kinya. Another question. Do you have a preference of setting zero point or embossing first? Mic
Set your Zero Point first. This will reduce the number of passes with the sizing tool in that first 1/16".
Your Harpsmith, Kinya
Makes sense. Thanks.
GROOVY!
Your HARPSMITH, Kinya
Hello Harp Techs, this is a terrific opportunity to remind everyone the SIGNIFICANCE of a properly set up Zero Point.
Why it Matters | For players proficient with their bending skills, this will supercharge your playing experience to the next level!
Your HARPSMITH, Kinya
Hello Kinya,
I'm just looking for a clarification. When setting the zero point, are you bending the reed into the slot or are you embossing the bottom third of the reed slot using either of the two methods that you demonstrate?
Thanks, Homer.
Hey Homer, timely question.
I just had a customized Marine Band 1896 on my bench for service. Regardless of breath pressure, the 7 BLOW reed would hold back for a brief moment before speaking (playing).
Under magnification, I discovered the reason the 7 BLOW had that pecuilar "stutter" to it, was the customizer (no, not me ;o) pushed the rivet end of the reed into the slot (negative zero point) then angled the rest of the reed upward.
My remedy was to lift the negative zero point to .001" and profile the angle with a smoother incline and proper gap. Embossing was not required.
NOTE | Creating a negative zero point "shortens" the length of the reed (like choking a baseball bat). Not a bad strategy, for example, when building an OB harmonica. It was simply not a good strategy for the harmonica I was servicing.
You should endeavor to make the first 1/16" of your reed run parallel with the reed slot opening at .001" ~ .002" gap, then profile your reed angle from there. I have found harmonicas with this type of precision, embossing the first third of the slot not as critical.
See if this rings true for you as well. Let us know!
Your HARPSMITH, Kinya
Hi Kinya,
Thanks for the response.
Have you seen this video by Brendan Power? Seems he has developed a new method (to me), of setting the zero point. I was wondering if you have tried this?
(158) New TOOL & METHOD for IMPROVING HARMONICA REED RESPONSE - YouTube
Homer.
Hi Homer, Yes I am familiar and tried Brendan's "Nail Art Pen" strategy. Essentially it mimicks Professor Jim Antaki's turbo liner innovation, whereas the reed plate surface area surrounding the reed was raised level with the reed.
p.s. | using .031" x .005" pin striping tape offered similar results
My Findings:
- The shortcomings with the Turbo Liner was that the close tolerances of the slot cut-outs did not allow for the "off axis" reeds and would require adjustment
- The Nail Art Pen strategy was messy and difficult to master
- My pin striping tape strategy was too much trouble to apply
For the moment, I stopped chasing new strategies and remain focused on perfecting the basic reed treatment strategies:
[a] Zero Point
[b] Sizing (embossing)
[c] Reed profiling (gapping)
Your HARPSMITH, Kinya
Go Deeper:
https://www.bluesharmonica.com/pinstripe_embossing
https://turboharp.com/collections/turboharp-custom-harmonicas/products/t...
Hello Kinya. What is the main reason for a blow note to sound great but when forcibly played it seems to reach a reduced volume compared to the draw note. I set zero point using pliers just below the rivot, set clearance at 0.002, embossed and gapped at app 0.005. Same procedure on draw and blow number 1 reed. Blow number two reed reacts in the same odd way. Could I have squeezed harder on the blow reeds or the toothpick may have been reused so it went too far down. The reeds plink nicely on blow and draw. Oh dear master. what is your possible solution to my problem. Mic
Hey Mic, sorry for the delay in my response.
It appears the .005" gap setting does not agree with your playing style. I recommend increasing your gap to .007" ~ .008"
Curious, what harmonica key are your working on?
Your HARPSMITH, Kinya
Hello Kinya. Hope you are enjoying the holiday season. I am refering to a G harmonica and I think I found the error of my ways. After zero point, embossing, profiling, gaping and tunning I gave the reed a workout. Started with a very soft breath and ended with a very forceful breath. In fact, I would never use that much pressure. When playing in my normal range of dynamics the reeds work well. So I assume the blow reeds have a limit and that is what I am hhearing. I finished that particular G harmonica and it sounds great and plays easy. Look forwrd to all your postings. Appreciate your knowledge and experience. Have a HEALTHY and HAPPY New Year. Mic
EXCELLENT! Well done Mic.
Ho Ho Ho!
Your HARPSMITH, Kinya
Gobble, Gobble, Gobble Mic!
I've done numerous harmonicas with the machinist's vise, but now prefer the brass lined pliers with toothpick backstop strategy.
More finesse with greater control
Unless you (and/or your customer) plan on playing Over DRAW notes, I would not recommend wasting time on setting the Zero Points for reeds #7 through #10.
Micromark recently added another brass lined plier with a lighter spring to their catalog. I hope this one shows up in my mailbox ;o)
https://www.micromark.com/Non-Marring-Brass-Jaw-Flat-Nosed-Plier?quantity=1
Your Harpsmith, Kinya