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Improving on a Good Thing
“Monster Harmonica Workbench” with Kinya Pollard
Mel Bay’s HarmonicaSessions® eZine
April 2007
Last issue I reviewed the Seydel Blues Soloist Pro Harmonica
(#11301A @ $35.95). Readers will remember that I was not satisfied
that this instrument was living up to its potential.
This month I’ll begin work on “customizing” the Blues Soloist Pro. Numerous proven
strategies will be applied in an attempt to create my next favorite harp.
For new readers, please refer to past issues of Harmonica Sessions, Monster Harmonica
Workshop for a listing of required tools and recommended set up techniques.
Sizing (a.k.a. Embossing)
A term, I believe originally coined by Master Harmonica Craftsman Pat Missin, is a
technique of “shrinking” the size of the reed plate slots. Reducing the tolerance surrounding
the reed will minimize air leakage, increase compression, and enable the player to achieve
extraordinary volume with less effort.
tuning fork, a socket, etc.)
Notice the amount of light that is shining through the
gaps surrounding the reed before the sizing technique
is applied.
Utilizing the handle end of a pair of tweezers, apply
slight pressure and gently stroke the entire length of
the reed slot in a back and forth motion. Due to the
radius of the tweezers handle, the reed will be pushed
into the slot as you make your way toward the rivet
end of the reed. This will limit sizing to approximately
90% of the reed slot. Not sizing the last 10% will be
negligible.
(Tip: almost any small radius implement will work well
as a sizing tool, for example, the ball end handle of a
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Divot
My modification of the tip scooping
technique is to machine crescentshaped
divots into the tip of the reed
slot. This technique turbo charges the
air directly underneath the free end of
the reed where there is the most
leverage. Another strategy that will
lead us towards harmonica bliss!
The reduction of light surrounding the reed after the
sizing process is significantly less.
Profiling
This technique incorporates both setting the reed curvature and calibrating the gap (offset).
Mastering these techniques will perfectly match your playing style to your harmonica;
thereby, giving you the sensation of playing an instrument that was built personally for you.
Sectioning the reed into thirds is an excellent
strategy for ensuring a methodical approach to
reed curling. The reed plinking tool (modified
feeler gauge) on the left raises the free end of the
reed and applies pressure to the apex of the
curve (try visualizing a saber striking an opponent
during a fencing match–see the curvature?) The
brass stock shown on the right, gently massages
(locks in) the curvature into the reed.
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Refer to the “The Tao of Harmonica Customizing” April 2004 issue for detailed instruction on
Reed Curling and Gapping.
I hate to do this to you, but this issue is going to end as a cliffhanger. Stay tuned ‘til our next
issue of Monster Harmonica Workbench when I will publish the results of this harmonicacustomizing
jamboree...
Stay tuned!
Kinya
The Harpsmith
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