Other web Sites
Harmonica Blues  Harmonica Amps
Harmonica Links Harmonica Pages
• Archives Home
• Years
 · 1992
 · 1993
 · 1994
 · 1995
 · 1996
 · 1997 		 · 1998
 · 1999
 · 2000
 · 2001
 · 2002
 · 2003
 
Web HarpL
Ebay Searches:
Amps:
Microphones:
Effects:
Harmonicas and Gear:
Harmonica Music and Instruction:

 

 

Harp-L Archives

[Previous Message] [Next Message]
[Next in Thread]
[Start of Thread] [End of Thread]

From: dijk~orldaccess.nl
Date: Wed, 28 Aug 96 19:09:15 GMT
Subject: The CX 12 harmonica versus the HOHNER Attitude!

About the CX 12 and a little Hohner story.

Just before my one week holliday, the CX 12 was one of the topics on the list.
Because I was not able to respond at that moment, this e-mail is my reply.
I play the CX 12 for about 4 years now. As I already mentioned on the list, I like
the design of the mouth piece very much. Also the slide mechanism is a better
construction than the models before.

During my study of composition at the musical highschool, I found out that I had
problems with my posture when playing the harmonica. What was the problem: because
of the form of the harmonica (just a little box) and the fact that I had to push in
a slide, my posture WAS completely wrong!
In that periode, I was studying the harmonica over 6 hours a day and it really
caused backache.

I found out some great sollutions for all the problems (not only posture problems
but also some problems concering harmonica technique) and discovered during a
period of one year a lot of other disadvantages concerning the chromatic harmonica.

The following text is a copy of a letter I sent to Hohner in 1995. It coveres all
the problems and solutions. After a period of almost 2 years, I still agree with
all problems and my solutions.

At the end of my letter I include a copy of the HOHNER letter I received a couple
of months later. All typing mistakes are Mr. Muller's. I just copied his letter
exactly. It realy is mournful that one of the worlds biggest harmonica
manufacturers does have such a minor attitude towards a INCREASING development of
the chromatic harmonica as an instrument. Most of their answers in the letter are
realy nonsence and underline their non-proffesionalism.

But, maybe by publishing these ideas, I can help some people with the improvement
of their harmonica technique.

Hope to hear some reactions!

Wim Dijkgraaf.

- -------------------------------------------------------------------------------
My letter to HOHNER Germany.
Fortunately, I am not able to include the pictures and photographs. But, I think
the text is completely understandable without the graphs.
- -------------------------------------------------------------------------------
Dear Sir,

After having studied the harmonica intensively for five years now, I have
developed a playing method that is very different to the conventional way of
playing.

When playing the harmonica, I aim at having the audience listen to my
music, forgetting they are listening to a harmonica. In order to achieve this
goal, I had - and still have - to overcome several problems. Some of these
problems are due to the construction of the instrument itself and were
solved when you released the CX12, which I think is a really well-thought out
design.

However, particularely the slide system still causes quite a few problems - I
overcame all of them by designing a simpler slide mechanism. The only
remaining technical problem was the tone positioning. I solved this problem
as well, and trust you will find my solution appealing to a point that you will
want to build a new instrument, based on it.

Having played at several harmonica festivals and being a member of the
technical advisory committee to the NOVAM (Dutch Harmonica
Organisation), I found that a large number of harmonica players proved to
have the same problems and were very enthusiastic about my solutions.

Finally, I would like to express my hope that by improving both my play and
the technical quality of the instrument, the chromatic harmonica would
become more popular for playing contemporary music than it is nowadays.

Wim Dijkgraaf


- ------
About the slide mechanism

Although the CX12 slide mechanism is quite an improvement to previous
types, there remain three practical problems.

1. The slide stops are inside the sound case. The noise made by the slide
hitting these stops is thus amplified and fed to the microphone.

Solution: to lengthen the slide, having it protrude on both sides of the sound
case (see Photo 1) and to mount slide stops on both sides of the slide
(outside the case - see Fig. A).

An extra advantage of this system, combined with a springless slide
mechanism (see below), would be that left handed people would only have
to turn the slide around and be able to keep low tones to their left and high
tones to their right.

2. Playing the CX12, as I do, four to five hours daily, wears off the plastic
gutter that holds the slide very quickly, especially to the side of the knob,
giving play to the slide and thus causing a clicking noise.

Solution: It would be great to have the slide move on two bearings,
mounted to the inner sides of the sound case, round the slots that hold the
slide (see Fig. B).

3. Fortunately the CX12 spring is more flexible than previous types.
However, why use a spring altogether? The use of a spring requires the
index finger to exert a fair amount of pressure to the slide in order to move
it. This in turn requires the player to hold the instrument firmly with the
remaining fingers of the same hand, positioning his thumb on the highest
tones, thus creating problems for himself when playing these notes (see
Photo 2). Moreover, the player's posture is wrong (see Photo 3) (upper arm
and wrist are twisted, head bent forwards, upper body bent to the right,
causing back aches), causing breathing difficulties.

Solution: to get the spring out and attach a flexible ring to the slide knob
(see Photo 4). By putting the ring around his finger, the player is able to
move the slide back and forth effortless. This leaves him free to hold his
instrument in a different fashion, thus solving the problems discussed
earlier:

- - positioning the thumb underneath the instrument (see Photo 5);
- - the arms are kept alongside the upper body, thus creating an optimum
posture and breathing technique (see Photo 6).



- -------------------------------------------------------------------------------]
Hohner's REPLY !!!!!!!!!!!!!!!!!!!!!!!!!!!!
- -------------------------------------------------------------------------------

Date: 02.05.95

Dear Mr. Dijkgraaf

Thank you very much for your material which you have send us.

With big interest we have read your inovation which you have made for chromatic
harmonicas. We are glad to hear that you like our new model CX 12 which is a fully
new concept in building chromatic harmonicas. The instrument was made with special
harmonica player's like Helmuth Herold, Yasuo Watani, Franz Chmel to get the best
result for all kinds of chromatic harmonica players.

Your innovation is really insteresting but we find there some things which we think
are not practicable:

1. You know, that the slide mechanism of traditional build chromatic harmonicas is
when playing the instrument over a long period to slow. Therefore we have a new
slide mechanism in the CX 12 which give the player the possibility that the slide
will always be in good funktion and quick enough for each kind of music.

2. You are wright that some lefthand player would like to have a instrument where
the low notes will be on the butom-side. Therefore it is possible to have the
traditional 270/48 or Toot Thielemans models in a special version for
lefthand-players.

3. We think it is not possible to have a slide without a spring because it is not
possible to be quick enough only with your finger when playing some special parts
in a very fast music piece, specially classic music. Also we think that it is not
possible to have the same rhythmus when playing for example a triller. You are
right that the noise of a regular CX 12 slide mechanism is a little higher than
your system.

4. The tuning system is made many, many years before. All big harmonica players
like Jean Toots Thielemans, Larry Adler, Tommy Reilly,... play this system with big
success. For a harmonica manufacturer like HOHNER there is no question that the
tuning system for chromatic harmonicas will be like it is. We find your system very
interesting but is seems to be a little more complicated than a regular one.

It would be a pleasure for us to have one of your instruments here in Trossingen
for testing. You can be sure that we never will use a part of your innovation for
series production without your agreement.

Once again thank you very much for sending use your material.

Best Regards,

HOHNER Vertrieb GmbH

G. Muller
- --------------------------------------------------------------