Now there's a thing!, can't even spell the name of our baby. That is the problem of having an 'insert word button' on a word processor. Man can make mistakes but it takes the combination of computer AND man to really screw things up.
Vern suggests changing design ie using a Farrell plastic body with other bits of Renaissance to reduce cost of product.
We have not yet released details of how this harmonica works. It is not conventional, although, for ease of use, it uses standard reed plates. The result of the unconventional and unique approach is that the design is an integrated whole. The new approach is to give the instrument enhanced music production and player usage qualities. There is not one place where a conventional component could be used as an integrated part of the design. (Look at the 'Silver Concerto' which uses standard slider pieces from the 270 ... on a 4,500 POUND instrument ... it spoils a nice, but very expensive concept.)
Before Bobbie and I teamed up to work on the design I was looking at using alternative materials and techniques. The actual new idea for the comb was finished but then it came to the nitty gritty of how to put the idea into practical and easily manufactured form. It was at about this stage that I asked Bobbie if she would consider doing some detail design work for me (she ended up doing major design work with me throughout the instrument) The reason I chose stainless steel as the comb and slider material was because I wanted strength, dimensional stability and resistance to bending in the slide, and I have had good experience with the material for the body. Interestingly, after the comb had rested for a few days after machining I had to re grind the surfaces because of stress relief movement of some of the surfaces. Last week we were discussing the use of materials like foamed stainless for lightness etc, but this is for the future.
The brass for covers is again a decision based on a liking for brass in historic instrument covers. I have not got the facilities to deal readily with Stainless steel covers.. in any case, these will be deep silver plated and I have good experience with this combination. The mouthpiece I wanted in stainless and I still do, but it is horrendously expensive to machine (even the brass one built for the prototype cost $250 as a one off) tolerances are tight =85 but it works. I think that the final model will have a brass, silver plated unit. If many are to be made this could be a machined casting, but unless someone can tell me different (please) machining from scratch seems the best way (with computer control). Problem here is retaining an absolutely flat slide bed to within 0.0005 inches, can't cast that accurately easily. Any advice on this would be gratefully taken on board.
No, the whole thing is a complete concept , designed to a purpose and a quality level. It may be that there will, in the future, be a spin-off in a cheaper instrument to the same design, but it would require much capital.
Here's a thought for you. How much does a family saloon cost? How much does a racing car cost?? What happens to the ideas formulated in a racing car?? They eventually filter into the family car in slightly altered form. Same with exclusive clothing design.
If you want the best you have to pay for the time and effort that goes into a unique artefact.
As a player I can only say that at present this is the best instrument I have played, even though it hasn't got proper reed plates in it. (He would say that wouldn't he!!!)
