Question about gapping for bendability
Hi all - I've been experimenting extensively with gapping and I wanted to bounce this observation off the experts and see if I'm grokking correctly here.
So far, most harps out of the box requires some gapping for me to make the draw notes bend more easily. I've found that I seldom need to do anything to the draw reeds - most of my work is on the blow reeds. I've noticed that the more narrow I make the blow reed gap, the more effortless the draw bends, BUT there is a point where the narrowness of the gap starts to negatively affect the blow note (as in: it chokes or hesitates with a normal amount of air pressure).
So basically my gapping typically involves trying to get the gap as narrow as possible without affecting the action on the blow note. I can almost always find the "sweet spot" in a few minutes and this seems to be working great for me.
I'm just curious: I've seen lots of talk about very exact measurements for gapping. Is my way (just doing it by feel) unusual?
thanks for any input!
-Chris
Well done Chris. Keep on keeping on!
Keep in mind that most harmonica manufactures set the reed gapping for the typical player. They discovered that many players had a tendancy to blow too forcefully (positive humid air pressure) into the instrument, "choking" (locking up) the BLOW reeds. This overwhelmed their service centers. The solution was to increase the gap on the free end of the BLOW reeds.
Of course, for Players such as yourself, you discovered excessive gapping on the free end of the BLOW reed made draw bending difficult.
Why? There are two parts to this answer;
1. HARMONICA
For Reeds #1~6, the DRAW bending phenomenum is made possible on the Diatonic harmonica because of the relationship between the BLOW and DRAW reeds within the same chamber. When more than one semi-tone (half step notes) exists, the potential for conjuring up the "ghost" note becomes possible.
For example (C harmonica); it is helpful to use a Piano keyboard for this lesson
2. PLAYER
Our tongue shapes the resonance chamber in our mouths. So much so, that we tune our mouth to match the required energy for the desired bend note. If this seem weird, think back to the time when you first played a Slide Whistle. The piston located inside the tube behaves like our tongue--the closer it moves to the front of our mouths (teeth) the higher the pitch (note).
Mechanically speaking, DRAW notes are easier on the harmonica. Vibrating the reed takes less energy with negative warm air pressure. The BLOW reeds, on the otherhand, get blasted with wet humid air (this is why tuning BLOW reeds are frustrating, because the condensation and saliva weighs down and de-tunes the reed!)
The bending process is fasinating to watch on a harmonica with the cover plates removed. To initiate the DRAW bend, you will notice the DRAW reed vibrating, then when the DRAW bend note "pops" in, the BLOW reed essentially takes over.
So Chris, the reason why
The playability (read: bendability) improved when you lowered the gaps on the free end of BLOW reeds #1~#6 because you made your harmonica more air efficient--requiring less energy to conjur up those ghost notes!
Go Deeper
If you really want to get into the weeds, check out my YouTube Channel, HARPSMITH Benchcraft, "How to Gap Your Harmonica Reeds for Optimum Bendability"
https://youtu.be/eI3aS_5HD34
Your HARPSMITH, Kinya