harmonica

School of the Blues students rehearsed for their Fall student concert Sunday and one of the areas they could have benefited from doing beforehand was to listen carefully to what the band was doing in their song. They did work out what the groove was, the key, the opening, ending and if there were breaks, but what they missed was what the instruments were doing within the groove of their song. In many cases this level of detail was not needed, but in some it was essential. continue reading...

While we're on a discography trip, here's a great one that Joe Filisko and friends put together for Big Walter Horton http://www.filisko.com/wp-content/uploads/2014/11/Walter-Horton-Discogra...

Todd has not played with an exhaustive list of famous musicians nor toured to the point that he’s a household name, so his bio really doesn't do him justice. He’s a highly skilled musician and in the harmonica community respected as a heavy-hitter…

“One of the tastiest and most accomplished overblow players around today." Brendan Power continue reading...

Not a complete discography, but interesting none the less. Thanks to Bruce for sharing.
http://www.discogs.com/artist/340688-Little-Walter?page=1

For the most complete listing get:

Blues with a Feeling: The Little Walter Story
http://www.amazon.com/Blues-Feeling-Little-Walter-Story/dp/0415937116

A new addition to the Overbend Study 1 Lesson (http://www.bluesharmonica.com/lessons/bending_study_8_overbend_study_1_t...) continue reading...

Part 1 of this series offers audio demonstrations from Professor John Shirley of various microphone types and mic placements for recording both acoustic and amplified harmonica. It also outlines issues of audio interference (comb filtering) when combining multiple signals from the same source and provides examples of the use of Direct Injects and Line Outs.

Overbend instructor Ross Garren's interview with Tom Ball http://www.sheriffsofschroedingham.com/ross/archives/09-2015

The only way to tell the listener that something musical is worth remembering is by repeating it. If you don't use repetition, then you're telling the listener that what you're playing is not worth remembering. If it's not worth remembering, then it's forgettable. Who wants to play a solo or instrumentalist that's forgettable?

In this submission Gary answers questions from students, specifically... dealing with a loud band, mic'ing your amp, using monitors, playing through a vocal mic, cupping the chromatic harp, stage presence, dealing with feedback, using a wireless mic, creating deep tone and playing softer.

"One note played richly and beautifully is worth a thousand notes with no tone." To see Gary's full interview go here http://www.bluesharmonica.com/gary_primich