Different sizes of chromatic - what do you use?
Chromatic harmonicas come in several sizes - 8 holes, 10, 12, 14, and 16.
I'm curious about which sizes people like to play and why.
For instance, the 16-hole is big, but it's got that low octave that sounds so great in third position. But it comes only in C, so the more manageable 12-hole size is used for different keys by players such as William Clarke, Paul deLay and Rod Piazza.
Then there's the 10-hole chromatic. Not a wide range, but compact and also airtight by virtue of its small size.
The 8-hole chromatic can be a handy pocket chro, but its limited two-octave range makes it a bit frustrating to play.
Then there's the 14-hole. It's got more range than the 12-hole, including notes below middle C that are often useful. Its size isn't as huge and daunting as a full 16-holer, and is close to the size of the 12-hole, with just a bit more range. This model has been getting more and more use by chromatic players, and several makers now offer 14-hole models.
So what chromatics do you you use? What do you like or dislike about them?
Hi guys
I had a Hohner 280, 10 hole chromatic (key C), which I bought a few years ago and never really did anything with. After reading one of the first chromatic posts I figured I would try again with the chromatic and though I should get a 12 hole. I ebayed the 10 hole and got myself a 12 hole Hohner 270 (again key C) and I'm just starting to get to grips with it- I've figured out "Work Song" which sounds pretty cool, although my girlfriend doesn't appreciate my continual repetition of the song..!
Anyway, I realised that the 10 hole is the same layout barring the top 2 holes and as I'm not yet really using these holes I regret selling it as I think it would be a bit easier to handle than the larger 270. I reckon as and when I'm looking for a different key I'll go for a 280, cost being another factor.
The 280 (16-holer) comes only in C. The 10-hole is Model 260, which comes in C and G It's the 270 (the regular version, not the Deluxe, sad to say) that comes in a variety of different keys.
You'll find different keys available mainly in the mid-priced 12-hole models from most manufacturers.
These include the Suzuki SCX-48, Hering 5148, Hohner 270 and CX-12, and Seydel Chromatic Deluxe.
Got my 280's and my 260's mixed up! Got them old 260/280 blues now
When I first started really getting into harp playing in 2000-2001, I walked into a music store that had a 280 for sale with a broken case. I offered 60 bucks. He took it happily, as he could not sell it due to the case.
I pull it out periodically, to work on the embouchure. I have yet to play less than 16 holes, but I think i would miss that lower octave. I really enjoy it. If they were not so pricey now, I would get a couple of other keys in different models. People love it when I pull it out at blues jams, because it looks so different.
I use some canned licks that I have picked out on it when I cover "Five Long Years." It makes for a great combo in my opinion.
I was wondering if the Hohner CX 12 sounds good for blues? I like the fact the whole thing pops apart quickly including the slides. Seems like cleaning would be a lot easier than on other models. I just haven't (to my knowledge anyway) heard any blues players playing them?
Thank,
-Ryan
There's no reason you couldn't use a CX-12 for blues. The traditional ideas about blues seem to go with the most traditional models, though - the Hohner 12-hole 270 and 16-hole 280 (64) and Super 64.
The CX-12 comes in several keys from Regular C (bottom note is Middle C) down to the Tenor C (an octave lower). Then tenor model would give you the low register that you often hear from the 16-hole models.
You can hear me demonstrating the regular CX-12 in C (Jazz model) in some audio clips from my Harmonicasessions review of the CX-12 Jazz (I also reviewed the 270 deluxe in that issue. In the first chorus, I play non-traditional single-note stuff, then turn on the amplified sound and play octaves in a more traditional fashion during the second chorus:
here:
Thanks for the great review! I think the 270 Deluxe will be my whistle of choice. I just need to get my hands on some $$ now!
Man I've got a bunch of chromatics. I have a Seydel C and Bb Deluxe that have been customized by Steve Malerbi. A Hohner Super 64 that Steve Did and a Super 64X that Richard Sleigh customized. Then I have four Sleigh custom 270 Chomonicas in C with the Deluxe Mouthpieces. The hardest to play would be the Super 64X because it is so thick... I prefer the Super 64. As for 12 holers I like the Hohner 270's with the round Deluxe Mouthpiece. I haven't played a non-customized harp in a long time but in the next few days I'm getting a Seydel Saxony which I'm really anxious to play.
I didn't know Richard was customizing chromatics nowadays. I'm sure he does great work - i know that Steve does.
You say the Super 64X is thicker. While its double thick reedplates do make it about 2 millimeters thicker than other 64s, I'm not convinced that its any thicker at all in your mouth. The mouthpiece is identical in size and shape to the regular 280 and Super 64 mouthpiece. I know because I've swapped these mouthpieces around among the 3 models.
The Saxony is a nice harp, and the orchestra version gives you some extra low range. However, I think it could benefit from a customizer tightening up air leakage in the mouthpiece, which would give it more volume and concentration of tone (and probably a brighter sound in the process).
Winslow: You are correct in the mouthpieces being the same but the cover plates are really different than the Super 64. So when I go to really jam it in my mouth for an octave I'm not used to the thickness.
I've got my Saxony now and it's very similar to the Malerbi and Sleigh Customs if not a tad better. Maybe Rupert picked out a good one for me(-:
Years ago I had Brendan Power convert my 64x to straight tuning with a Hering slim mouthpiece and slide. At the time I had a major hate on for the modern 64 mouthpiece for tongue blocking and that particular one (the stock 64x one on my harp) was always jamming. I still have and play that harp, so maybe I notice the thickness a little less because the narrow mouthpiece sticks out some. But I also got over my hate for the "squashed" modern 64 mouthpiece.
I haven't run across a bad Saxony of the few that I've played. It's a solid instrument, well made and well finished with a nice brawny sound.
I have been using the 280, the CX-12 and the Super 64. In my opinion they all sound good.
Even though the Super 64 is not comfortable I think nothing beats its sound in the low octave. I am just wondering about its reliability as mine had the bottom three holes sticking and jamming out of the box, plus the spring broke after three weeks. I was not playing hard or anything. I also wonder about the quality of the metal. Other than that it is an unique sound that I prefer over any other chromatic I've played.
The Super 64 uses the same reeds and reedplates as the 280. The only real differences are the cover shape and the silver plating on the Super mouthpiece. Individual instruments, even of the same model and vintage, can sound and play very differently, though.
Faulty parts, such as springs, do happen from time to time, and so does poor reed adjustment (which I suspect may be the problem with the non-sounding reeds you mention).
Get in touch with Hohner and ask them to set this right if this is within the warranty period.
Thank you very much Winslow.
I've been chewing on diatonics for a dozen or so years now. But just started abusing the chromatics here about two years back. My first chromatic was a pre-war Hohner 260 Chromonica with richter (diatonic) tuning. It drove me nuts trying to figure out the notes when everything I read kept telling me one thing, and my ears told me something different. Now I understand the old harps went through growing stages with tuning. Just picked up another pre-war 260, this time in G. Again not standard tuning. As far as oldies, I also have two 270's, a Chrometta 12, and two 280's. Have enjoyed tearing them apart and restoring them. Have learned about leather valves and cracked comb restoration. Really love bringing these ole harps back to life. I also have a CX-12 and a CBH 2016 Pro. Enjoy playing them, but can't say that I like them over the oldies. They are different. But I wouldn't say better. I've heard good things about the Swan 10-hole and the East Top 12-hole chromatics. Understand the Swan 12 & 16 hole leak terribly, and have pretty bad tuning. I look forward to playing half-way proficiently one day. And want to try the other brands of chromatics. On a side note...any ideas on making the dog stop howling and the cat stop attacking me every time I practice? Certainly it can't be the quality of my playing.
I have my dad's old 64 Chrominca (C) that he saved up for and purchased in 1939 or '40. He carried it with him through WWII (Navy, in the Pacific theater). I loved the sound of "Sophisticated Swing" that was kind of his specialty song, but he could play the heck out of a lot of big band and country songs. Alas, the wood comb cracked quite badly in the '80's or so. He repaired it with some epoxy, but the wood kept shrinking. As I said, I still have it, but unfortunately, with the cracked comb and dried-up leather valves, it's unplayable now. Still have the original wooden case too, though the spring on the latch broke ages ago.
I bought a new one some 15 years or so ago and just love it. My ageing ears can't pick up a difference between the old wood and new plastic comb, though I've seen/heard some comments over the years that there is a difference. But I couldn't really hear a difference between my old Marine Band and my new Lee Oskars.
I've been concentrating on my diatonic for the lessons here, so I can get the basics better, before I start picking up my 64 again. But after reading this thread, I gave it a try. I could still play "Blue Prairie" pretty well after a couple of tries.
As I work through my lessons here, and start to pick up the Chromatic again, I'll probably get a 12-hole just for portability's sake.
It's great that you have so many memories associated with that instrument of your dad's, and it can be made playable again if you want.
It's possible to repair the old wood-bodied chromatics, and the pre-war ones like yours are especially valued. The combs are still available from Hohner. Leather valves can be reconditioned or replaced with plastic ones.
Thanks Winslow! I actually hadn't really thought about getting it repaired. I'm guessing that Hohner co. would be able to do that? Or are there other people who do that?
Hohner Europe has parts available but will not repair old models.
Two techs who can repair that instrument are George Miklas and Michael Easton.
George has a business called harmonica Gallery, which has a webiste: http://www.harmonicagallery.com
Mike's business is at https://www.harmonicarepair.com/Fathead_Musical_Instruments/Home.html
Thanks Winslow! I will definitely be looking into those. I figure I can at least see how much it might cost. Will keep you posted.
So, I did look into repairing my dad's old 64 Chromonica, and, while it is possible, it will be expensive. In fact, it will cost as much as a new one. Though this didn't really surprise me, it did make me re-think the idea. As I'd already mentioned, I had bought a new one several years ago and love it. So, instead, I decided to purchase another, 12-hole chromatic.
I dropped in at Arizona Music Pro (here in Flagstaff) and picked up a new Hohner Chrometta 12. I figured that, with it being more portable, it would be a good way to go. I still love my 64, but I can carry the Chrometta 12 to work and other places much more easily. I might still get dad's re-conditioned later on, but right now, the 12-hole seemed like a better way to spend the money.
Thanks again for the help Winslow.
Hi Winslow - I'm fairly new to it but getting addicted to the "big stick". I'm using a 12 hole Seydel and am starting to feel comfortable with it as I work my way through the lessons and noodle with it learning other songs like Summertime.
I did order a 16 hole Suzuki and agree on the incredible sound of the low octave. It's also shown me about the differences in the mouthpiece (?) shape. Where the Seydel is 'square', the Suxuki is round and I kind of like that better for getting a tighter seal. There's no question that the 16 hole is a big piece of work and tougher to handle and feel comfortable with. Maybe it's just that I don't play it as much - ???
I also got a Hohner CX 12 in Bb just to find out what people like about them (heard a lot recommend them) . The shape and size is pretty comfortable for me and I'm finding the one piece round mouthpiece very comfortable to play - almost like it better than the Seydel. It also has a 'darker' tone.
I'll be curious about other comments and reactions.