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Raśl MMay 26, 2009 9:04 PM GMT
I'm going to introduce myself in the forum and say hello to you with my first topic.
I'm starting to modify my harmonicas and I've read all I could about embossing, gapping and arcing. Well, I think I know the techniques, but I don't know a few things. I hope you'll help me.
I must embossing, but wich reedplate I must embossing? The blow one, inhale one or both? I've read that I must only embossing the inhale reedplate because embossing blow reedplate will be bad. But I embossing both reedplates of "Hohner Blues Harp" in the key of "A" and I can bend and overblow very good.
I embossing only the inhale reedplate of "Honer Marine Band Deluxe" in the key of "C" and I can bend and overblow very good too. I can't understand it.
For overdraws is the same thing or changes?
Thanks a lot for your time and your FREE knowledge!
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Both plates have to be embossed if you're gonna do it because the reeds in every hole works together as a pair, be it a bend or an overblow.
Thanks for your answer Bob!!
My brain told me that it's the right way embossing both plates. Because if something is good for one plate it may be good too for the other one.
Thanks again and excuse me if it was a too easy question.
Hi Raúl, nice to see you in this forum too!
I still consider myself a newbie in harmonica customizing, I only need some time to read anda lot of practice, hopefully I'll get it soon.
See you around!
Even after watching a video on it , I still don't understand what embossing is. As far as I understand it ,it's a multi step process of pushing the reed tightly into the reed slot (and bending the slot inward, filing the burrs out of the inner edges of the slot. Am I close. can someone explain this or direct me to a really good clear video, so I can start doing this myself. I just bought a $35 special 20 and it plays like crap. I need to fix these things. Help.
Hi Lester - the thing to remember is that the changes you make to the reed slots are microscopic but really improve the resonance. Basically you're trying to reduce air leakage round the reed to a minimum. This means that it takes less force to play and bend the reed, and like a singer hitting a note spot on, there is less 'air' in the sound. Chris Michaelek has posted a few good tutorials:
What you will find is that 'plinging' the reed and using a shim to reopen the gap after embossing is effectively undoing the emboss, but leaving just enough to make the difference. Once you get one right, you won't look back, and you might find you can recover harps you thought you'd ruined:)