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From: Danny Wilson
Date: Sat, 31 Aug 1996 11:35:47 -0700
Subject: Reed Tuning & Fatigue

Although I am not a diatonic player, I find all the discussions regarding
reed fatigue very interesting. And the apparent lack of response or
brilliance of some keyed harps as opposed to others, all within the
same brand, no matter which brand it might be, can be explained, in part,
very simply. In fact, it has surprised me that, if I am not mistaken,
no one has even addressed the subject from this angle.

I am sure everyone is aware that physical dimensions of reeds of the same
pitch (or frequency) vary according to their placement in given harps:
i.e. a G reed in a C harp, vs a G reed in a G harp. Following is a study
I reported on while in the employ of Lee Oskar, so it targets the Lee
Oskar Harmonicas specifically, but the theory can be applied to any
manufacturer's product. All dimensions and specifics are peculiar to Lee
Oskar products.

Like-pitched reeds on different harmonicas will respond differently. If
one were to carefully examine the physical dimensions of the reeds in
several harmonicas (all the same brand, but various key tunings),
comparing similar pitched, or same frequency reeds, a variance of length
would be noted, because of the placement of the reed in the order of the
scale. Also the resonance and response of each reed is dependent on the
other reed (pitch, offset, etc.) in the same chamber. Example: on a C
harp, blow #3 is G (392 Hz), and its chamber mate is draw B, while on a G
harp, blow #4 is G (also 392 Hz), and its chamber mate is draw A. These
two G reeds, while the same in pitch, are slightly different in physical
dimensions. On Lee Oskar harmonicas, the length of the G reed on the G
harp is 16.696mm, and the G reed on the C harp is 17.775mm - or 1.079mm
longer. Therefore while frequency remains the same, timbre, or
resonance, can be slightly different. An even greater difference in
timbre will be noted when comparing blow and draw reeds of the same
frequency, such as the #2 draw and #3 blow on major tuned harps.

Having said the above, it leads to the actual topic of this epistle.

Who is not aware that NO manufacturer stamps out specific reeds for every
given reed size/tuning for every harmonica, in every key that they
manufacture?

This would mean a total of 240 reed sizes/pitches for a complete set of
12 keyed harps, not to mention those needed for additional keys, i.e. low
F, low E, low D, high G, high A, and whatever other keys available from
various manufacturers, IN ADDITION to special tunings, such as natural
minor, SBS, harmonic minor, etc., etc.

No - this is not cost effective. So the obvious answer then is that many
reeds do double or triple duty for other pitches, after some retuning.
The end result is that some reeds may be severely retuned, while others
are only slightly retuned. This is the answer to the problem of some
harp keys being more prone to reed fatigue of #3 draw, #4 blow, or #7
blow, for example, than other keys.
- --
BassHarp - Danny Wilson
Sierra Madre, CA 91024-1232
Email: bassha~arthlink.net
Fax: 818-836-0981