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Adam PNov 11, 2009 9:48 PM GMT
Apologies everyone - I don't know what went wrong but when I posted the last topic my question got wiped out. Let's hope it doesn't happen again. I was basically asking for some tips on getting the overdraws on holes 7 and 9. I didn't think re-gapping made much difference as the reeds in theseholes tend to be gapped pretty close. It could be my technique as I have to strain to get any note out at all. Will embossing and arcing make all the difference? Any help or advice you can offer will be much appreciated.
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Actually gapping is the most crutial aspect.
I mean that the differance between a reed that wont choke easilly and one that will is too small to see with the naked eye.
One thing that I find helpful Is too force the overbend by blocking the opposite reed with a finger while I adjust the gap. That is, block the opposite reed, blow or draw to hear the overbend, adjust the reed and try it with finger removed...repeat as necessary untill the reed is adjusted to perfection. Perfection is when the "choke reed" responds well to its normal note but is still close enough to the plate to choke off for the overbend.
Thanks for your reply Frank. I guess the shorter reeds up at the top end of the harp require much more fine tuned adjustment than I've been giving them! I'll keep at it.
Thank's for this tip! I have actually been able to do overbends for a while but overdraws have been missionimpossible for me - even when I stop the drawreed with my fingers. Now that I adjusted the blowreed gap very tight I could do it in few minutes all the holes 7-10 with the help of a finger. And when I assembled the harp again I did it without finger assist from the hole 7 right away.
Good to hear A-P-S.
As far as the my nomenclature on this subject goes..."overbending" is the word I like to use for the technique as a whole. When used in this context it refers to either blow notes or draw notes achieved by chokeing the normally sounding reed per breath direction.
If I specify the breath direction I will saw "overblow" or "overdraw".
Adam, from my experience, gapping is the main key to being able do overdraws. I'm no expert, but I've progressed from being able to overblow only the 6 to also include the 5 and 4. I don't overdraw the 9 very often, but one of the first things I do after opening a harp is to gap the 4, 5, 6 and 7. I don't like my harp unless I can overdraw the 7. See http://www.overblow.com/for advice on adjustments.