Electric guitar

Mon1979:

Are you talking about playing guitar yourself while also playing harp in a rack (or through one of Grainger's patented Dyna-Mics)? If so, it sort of depends on the venue, style of play, who else is playing with you, etc. When working solo or with accoustic group, Grainger appears to favor a traditional acoustic flat-top guitar, either with pickup installed, or into an instrument mic. I'd think one factor would be comfort, i.e., how does the guitar feel when playing while standing or sitting, with a rack around your shoulders? The simple combo of harp and acoustic guitar works for a lot of harmonica blues. (Think Annie Raines and Paul Rishell. Or Sonny Terry and Brownie McGhee.)

But if you're talking about playing with a band that includes a guitarist, I think I'm not alone here in being of the opinion that the best guitar is one that the guitarist can TURN DOWN when I'm either singing or playing my harp. The volume battles between harpists and guitarists have been going on since the invention of the electric guitar, and will still be going on long after you and I are gone.

Guitar and pickup combination? All over the map. Working with Junior Wells, Buddy Guy favored the Strat. Muddy Waters' harp player changed over the years, but most frequently Muddy himself played his classic red 'Tele. When he played with Mark Hummel, the late Little Charlie Baty would from time to time pull out his vintage Gibson L-5. Aki Kumar's guitarist, Rome Yamalov, sounds great on his Flying V. I've played with a guitarist who loves collecting, and from time to time has pulled out an old Sears Airline or a Kay single-pickup from the 1960s, or a more recent Alvarez thin-body. 

Bottom line: This is no "best" guitar for playing along with a harmonica. If you like the sound (and if you're also the player, like the feel and playability), that's the best one right then and there.

And finally, if you're looking for a good sound to accompany you, it's the player, not the gear. (In one quick proof-study, years ago I went to a workshop put on by Robben Ford. A 13-year-old beginner attendee brought a lower-end Squier he'd been given as a gift from his parents, and wondered whether or not his guitar as "good enough." In answer, Ford swapped with him, giving the young man his iconic 1960 'Tele, and picking up the young man's Squier, and they jammed together. And the young man and everyone else in attendance had it driven home once again that it's not the guitar. It's the player.)

Ukulele Rob plays Hohner™ harmonicas customized by Kinya Pollard, The Harpsmith™

Mon1979:

Don't know if I actually clarified anything, but in addition to the joys of actually making music, including listening ("Listen twice, play once," as David counsels), practicing, learning from making a ton of mistakes, getting better even though it takes a long long time, and playing with friends and interacting with other musicians and audience members, one of the joys of instrumental music is getting really geeky about gear.

As harpists, we go on and one about different makers; wood vs. metal vs. plastic combs; brass vs. phosphor bronze vs. stainless steel reeds; recessed vs. sandwich combs; alternate tunings; etc. (don't even get started on chromatics with straight vs. alternate slide holes, round vs. square holes; etc. etc.).

Electric guitarists are no different. Various tonewoods. Tune-O-Matic vs. wrap-around vs. hardtail bridges; nut material; solid body vs. thin-body vs. hollowbody; single-coil vs. humbucker vs. P90 pickups; and on and on.

One area where harpists and guitarists differ, however, is in the field of vintage instruments. Guitarists will mortgage their home to acquire and play a 1960s Strat or Tele. There's a mint condition 1960 Strat for sale right now at a dealer in Chicago who's listed it for $45K. A Gibson L-5? Saw one recently from 1940, for sale for $20K. (A touring jazz musician friend of mine does just fine with a newish, vintage-style Loar that cost her less than $1,000.) The older guitars can have a lot of mojo, if not also quality that current instruments just don't have. See earlier post about Robben Ford's 1960 Telecaster.

But while there are harmonica collectors out there, I've yet to meet a harp player who, for the purpose of performing, lusts after "vintage" harmonicas. A true vintage Hohner 64 Chromonica in reasonably playable condition can be had for $60, vs. a brand-new one for around $240. Why? Because harps wear out. A lot of vintage harmonicas for sale need a ton of upgrades to actually be playable. But while installing a new nut or bridge on a vintage guitar might not bring the sales value down a ton, once one has put a new comb, reedplates, and covers on a vintage harp, it's actually identical to a new harp. It's just ended up costing more. (By the way, eBay is full of sellers advertising 2-year-old Marine Bands and Special 20s as "vintage." I suspect that because the market for vintage harps is so small, just about any harp that has gone into someone's mouth can be described as "vintage.")

The whole thing about vintage guitars can be summed up by David Wilcox’s wonderful song, “Guitar Shopping.” Look for it on YouTube, or wherever cool songs show up.