MindTheGap
704 posts
Oct 14, 2015
1:11 AM
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Here's the question about reed action.
I've read many times about the need for the reed to enter the slot altogether i.e. not nose first. And that is why there might be an arc on them.
Simple question is - how to you assess that by poking them with a toothpick or whatever? Do you press at one end, or in the middle or what? It's probably different to what the airflow does when you play it.
Thanks
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SuperBee
2875 posts
Oct 14, 2015
1:51 PM
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Personally I usually use my finger. I think I've seen people use other objects. I think a finger spreads the load and maybe better that a pointy thing. Either way...I'm trying for a general idea of what the reed is doing. If you try applying pressure from a few different points you'll get the idea...for me at least it's somewhat more complicated to think about in theory than it is to just do it and see what happens. I feel like I can just see it and understand. Try it. Poke the reed at 3 or 5 points along its length. See how much variation there is. Where is the point that balances out the difference between the extremes? I'd use that point. But, I use a finger and just use my judgement. Pointy tools only if I'm doubting what I see otherwise. I like continuity in the process of assessing and addressing and I try to keep my eye on the picture throughout, so using a tool to press on top of the reed is too clumsy...rather, I'm too clumsy to manage that while keeping my eye on the action and using another tool to make changes...because I need a finger on top of the reed to apply counter pressure when I'm reshaping...
Much easier to do than describe...which is probably why Richard Sleigh decided to turn his 'hotrod your harmonica' book into videos and discontinue selling the book. Recommended btw.
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MindTheGap
707 posts
Oct 15, 2015
12:32 AM
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Good, thanks. I tried playing about with different reed profiles (and that zero point you were talking about) to get some understanding what effect it might have. But I couldn't work out anything particularly.
I was esp. interested in making the 3 draw bends easier, but I had to conclude that there was a point beyond which I couldn't improve them. It was useful though, because otherwise I had this doubt that I was slogging away trying to build a technique on dodgy instruments.
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