DaDoom
56 posts
Mar 26, 2009
9:00 AM
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Hi folks
My first attempts at overblowing always required a lot of air pressure. The more I understand the technique, the less air pressure I need to pop the note.
Is it the same with overdraws? Once you have the basic technique down can you get them with little effort? I ask because until now they require quite some pressure (hmm vacuum would be more precise) and it doesn't seem to get better.
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Preston
239 posts
Mar 26, 2009
9:12 AM
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Yes, it is the same. I can do it very gently and even bend the pitch like I do overblows. My overdraws got better when I started taking most of the arch out of my reeds. I flatten them out and then put the slightest, scoop on the end. I'm no professional customizer by any means, but I noticed a difference in ease of overdraws when I started doing this.
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DaDoom
57 posts
Mar 26, 2009
9:41 AM
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Thx a lot Preston. I'll try to adjust my reeds according to your suggestion. I want to try to re-tune 7 draw anyway so it's a good occasion to check the other reeds as well.
Just two more questions on the subject: you can get OBs on holes 1 - 6. But most players use them only on holes 4 - 6 (they are also much easier to get than on holes 1 - 3). What are the most used ODs. They should be available on holes 7 - 10 but I guess that some are more useful than others.
Arching reeds: do you normally arch the whole reed (from the rivet up) or just the last third of the reed? I mean as a general rule.
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Preston
241 posts
Mar 26, 2009
2:03 PM
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I guess as far as most used OD, it would guess it just depends on what you play....I spend most of my improvising time in cross harp, so the 7 overdraw is the flat 5th and it is the one I use the most. 10 OD is the same as 7OD, but man is it up there! 8 OD is the same note as 9 draw natural, so I really don't have any intention of using it awhole lot. 9OD would be your flat 5th for 3rd position. Of course there's all kinds of uses for them in different scales and different positions, but those are the first that spring to mind off the cuff.
As far as my reed arching? I anly arch the very tip. I try to get all the arch out of the reed, then close the gap until it dips below the top of the reed plate so it won't sound any more, and then I arch the very tip so it pokes it's head above the reed plate and will vibrate again. I probably gap mine alot tighter than most people playing cross harp would like, but that's just how I've developed myself the last year or so.
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