Harp Mic for Chromatic?

It's a big, wacky world... Let's look at the subject in two frames: Recording; Performing.
I'd venture a guess that the majority of earlier chromatic harmonica recordings were done with "ribbon" mics, primarily RCA 44's and 77's. These mics have the characteristic of being able to soften edges, of "mellowing" the input signal. Truth is, Michael Jackson's vocal recording mic was an RCA 44. Sorry... As recording chromatic harmonica was about capturing the ambient atmosphere and didn't involve "cupping" the mic in any way there was no problem-o.The transition toward capacitance or Condenser mics simply upped the recorded detail and offered an extended high frequency range above that of human hearing. Here doggie...
Performing: The harpster's old friends, IMPROVISATION and ADAPTABILITY make an appearance. On the "ambient" or non-hands-on side, chromatic harmonica players and trios utilized and sometimes modified ribbon mics to take on the road. With the advancement and proliferation of high resolution dynamic mics the moving coil design became more than tolerable and actually offered greater dependability and durability. Rarely would you see a singer/chromatic player utilize the same mic for both functions, but a ready exception would be Stevie Wonder. I know he was using an E/V RE-20... For the hands-on approach, again the dynamic family offers advantages. Toots will typically be seen with a SHURE 58 or similar. Another approach is to utilize a mini-mic -usually an electrette condenser- affixed to the player's hand via tape, a ring, elastic band. This does afford flexibility in movement and hand articulation. As for the chromatic's roots in the "Ribbon"? I've made initial steps toward utilizing modern ribbon cartridges in hand mics specifically configured for chromatic harp. Wish me luck...