Red gapping documentation strange results
Hello Kinya,
After a year of playing and constantly gapping my harps I have finaly decided to measure the gaps.
So far I have documented my G harp but the results I got ater thorow measuring has come out very strange.
I am attaching the result at the bottom of that post and I would need your guidance what am I doing wrong or what can I do better.
What astonishes me is the great difference between the blow and the draw gaps.
I have tried decreasing the blow gaps to match the draw ones, but even a subtle change starts causing the blow reeds that I modified to stall.
Especially the number 1 blow reed.
I have tried increasing 1 the draw gap and decreasing the blow.
But the only combination so far that i found satisfying for me so far is the one you see on the chart.
I gues the bigger question I am trying to ask here is:
What would be the downside of having such a big difference between the blow and draw gaps?
Maybe I could approach it differently but about that I will need your guidance.
Thank you in advance!
Hello Kinya,
It is an out of the box harp and all I had done some gapping based in your instructions making sure the gaps of the blow and draw reeds were the same initially.
No embossing, no setting the zero point.
Later on I had a broken reed on the draw 1. Too much train exercises.
I have replaced that reed myself.
After that I have been playing this harp for a while and making additional reed gap adjustments untill reeds stop stalling.
So now I have that result.
About my band...yeah they are loud, but I have spent much more time practicing without them and I am really trying to work on my volume and my dynamics.
I guess I need to try harder :).
After the isolation here in Spain started we have even stopped rehearsing so for a year I have been playing by myself.
I dont use overblows. Too early in my studdies for those.
I just was curious to know what is the diwnside of having the blow/draw tolerances so far apart from each other or more precisely how would I benefit by having them closer together?
Hi Angel, for us Blues players, bendability is key to finding and playing the missing notes. The closer the distance of the bottom reed tip to the top surface of the reed plate (slot), the more crisp, clear and precise, when engaging the bent notes.
Try lowering the BLOW reeds a little at a time by:
- pinching the back of the reed to the reed plate with your index finger and thumb (like your signaling us that things are OKAY)
- before measuring the new gap, "plink" (vibrate) the reed a few times. You'll notice the reed gap lower again. The spring metal nature of the reed wants to find equilibriam
- play the harmonica
- if you like how the reed responds to your every command, document the new gap measurement for future reference
- close-by not quite, repeat steps 1~4
Your Harpsmith, Kinya
Hello Angel, I see you have been busy.
Please remind me, have you sized your reed plate slots and set the zero points? or is this a stock out-of-the-box harmonica?
Harmonicas with large gaps on the blow side usually come from players who blow hard. The large gaps would prevent the reeds from stalling. Would you categorize your playing style as being a power blower? Do you perform with others on a loud band stand? I would be surprised if you were overblowing the 4, 5, 6 blow reeds? What say ye?
Your Harpsmith, Kinya