On the web I’ve found information on how to setup the harmonica for overblows, very little on how to do it for overdraws; just that the setup is similar. So on a new harmonica I gapped it a bit, managed som OD’s, added curvature, arching - and then it was not possible anymore? Flattened the reed back again, and it worked again! So now I don’t do that but compared to overblows the draws is much more of a struggle, overblows much easier. I’m experimenting with embossing and nail polish to make it more air tight. continue reading...
I had some issues for a long time with one of my harps (Crossover) from the beginning. I could make no sense of what was going on.
Finally I went back to the notes I had taken looking at your videos, and there it was written : "if the 2 draw bend is difficult, reduce the 2 blow gap", I applied that to my 3 draw bend problem and kaboum : good clear sound.
So thanks for theses videos and helping me find a solution to my issues.
When I was first starting at BluesHarmonica.com I favored very responsive harps that made it easier to learn to bend. But now that I've been at it for a while I'm nore focused on trying to play the 2 and 3 draw bends accurately. Using the Harp Ninja app I can see that some of my most repsonsive harps are the most difficult to play consistently in tune. Is this me, the harp or both?
I got a harp the other day with a strange tuning. It's stamped E and Moll on the coverplate and reed plates. As near as I can figure out it is an E harmonic minor. G#s tuned to G. C#s tuned to C. Am I close on this. The tuning is too close to being on pitch to be random. Also it is in tune with itself. If that makes sense. "Moll" must be a German Key notation.