Blues Chromatic

I am trying to decide whether to send a second 64 back to Hohner (in one week). The first one had no response on the #4 blow on the low octave with the slide in - got replaced in two days. The second one has lots of "rattle" on the low end and some "buzzing" also. This is my first experience with the 64 (limited chromatic experience) and I thought that this might be more my issue than Hohner, although I have read some similar complaints on other forums.
Does this sound more like just an inexperienced player issue, or bad luck on two rather expensive harps.

Third position is naturally a minor position. The draw chord formed by Holes 1,2,and 3, Holes 5,6, and 7, and Holes 9,10, and 11 is a minor chord.

The note that makes the chord minor is the third of the chord, found in Draw 2, 4, and 10.

By pressing in the slide on this note, you can make third position sound more major.

You can approach this note with the slide out, and jab it in quickly, the same way you do a tongue slap, but with the slide. Or you can roll into it more slowly. continue reading...

I am looking at the 16 holes and can't get a consensus (like most equipment issues). Rod Piazza and I talked about it and he only uses the Hering 64, but then again what is he going to say. i think he was sincere in that he thinks it is the best, but Hering has a hefty premium and some distribution issues. I play mostly Special 20's otherwise, but don't want go with Hohner just because that is my pick in the 10's. Do you think there are reason why I should consider one over the other - right now I would lean toward the Hohner Super 64 based on appearance and price.

Winslow,

I'm considering purchasing my first chromatic and I've checked out some of your previous reviews on the 270 Deluxe and the SCX-48. It's been a while since you wrote those and I don't recall seeing a head to head comparison of these two, so I'd like to ask: What are your thoughts at this time on the pros and cons of these two chromatics, and do you feel one or the other might be a better choice for a blues oriented beginner?

Thanks in advance,

Loren

Tip of the week: Sneaking the slide into third position, Part 1

In blues chromatic, third position is king. Of course you can play it without every using the slide - witness the famous photo of Little Walter holding a chromatic with the button broken off.

But the slide still has a place, even while staying with the classic stylistic boundaries laid out by Walter and by George Smith.

Here's an easy way to start. Replace the notes C and F with their slide-in versions (assuming a C chromatic).

F is a draw note in Holes 2, 6, and 10. Play the slide-in blow note instead. continue reading...

The chromatic is too big to be enfolded in your hands like a diatonic. However, you still need to cup it and, depending on your style, you may need to use the slide button.

Rather than hold it by then ends, hold it more or less in the middle and let both the right and left ends stick out. This lets you form a tight cup around a microphone. It also distributes the weight of the harp to be less tiring to your hands. continue reading...

Hi pals.
My mouth is not as big as mail box, it is just as big as I need to play octaves in a chromatic harmonica (well, may be a centimeter more).

I became aware about how big some mouths are when someone said He can play easily a 7-1 in a diatonic harmonica.

I don't know if this is a problem but when I play the octaves I hit the cover plates with my teeth.
Is this normal?

Good tone on chromatic can be elusive.

It's basically the same as good tone on diatonic. However, the isolated, valved reeds are more sensitive to pressure and suction, and will reflect even the slightest quaver in your breathing.

Don't try to pull, push, squirt, or suck air when you play, and don't try to force the notes.

Instead, breathe gently and deeply. Deep breathing moves lots of air, even when moving gently, and this helps give you resonance to deliver both volume and tone. continue reading...

When you first pick up the chromatic, you may find the notes balky and unresponsive.

Try breathing gently and deeply, and float the notes out.

As you get the hang of chromatic reed response, you can strengthen your attack and play more aggressively.

I had the chance to play one of these the other day and thought it was sweet. Anybody using one? Got any insights or feedback?