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From: SNaru~-online.de (Siegfried Naruhn)
Date: Wed, 2 Oct 96 15:35 +0100
Subject: RE: Slide Problems (was Not a Fish)

Hi Winslow,

I see your answer to my commenting your subject and have some hopefully
entertaining ideas.
Though it seems to become a private conversation, I consider the slide problems
worth a list topic. My poor non-native English couldn't prevent my suspicion
that a "fish" might be not only a trout or tuna but also a "thing of minor
importance", right? Then, a balky slide is anything but a "fish".

>>When you say adjust the curved mouthpiece into a straightposition, Do you mean
>>re-bend it so it is no longer curved, or sand it like Doug Tate recommends, or
>>what? My understanding is that the curvature is needed to maintain suffucient
>>airtightness in the middle of the harmonica.<<

Yes, that's exactly what I meant. You can stretch the 64X mouthpiece without
fearing leackage by a simple reason. Unlike the 270 and all related models of
any a trademark, the mouthpieces of the Super 64s are overlapping the combs and
are profiled for the slides too. The additional curving I consider superfluous.
Stretch it and establish the proper tension of the screws by pushing the slide
in and fix the left screw until the slides sticks. Then loosen the screw until
the spring frees the slide and give a little more 'screw tolerance'. Same
procedure with the right screw.

If the slide is not bent, the back of the mouthpiece is cleaned, protected by
some non-resinous oil, and the tension of the screws properly adjusted, it
should functionate.

No, I wouldn't recommend sanding because this measure could effect a higher
slide tolerance.

>>I have similar problems with 270's - a non-troublesome slide is a rare and
>>winderful thing. I notice that the part of the slide that sticks out always
>>seems to develop lines on the front from the back of the mouthpiece,and I've
>>tried grinding these mouthpiece surfaces so that they don't dig into the
>>slide, but I still have the same troubles.<<

At first, the description of harp parts must be unequivocal. If you understand
with 'mouthpiece' the uppermost part with the holes, then you can grind it's
back into all eternity without achieving any an effect because it has no contact
to the slide. You can only mean the back of the upper slide plate, but why
should we talk in different languages. Mouthpiece or mouthpiece section must be
differentiated, as the case may be. OK, just an idea remembering endless
palavers about 'apples and oranges'.

In R. Martin's fall issue of HE I spent a lot of lines to explain why all 270
related chromatics can't compete with the CX system regarding the slide
mobility. Once again'a (as Belafonte sings in his banana song).

The slide of all the '270 relationship' is "locked in" in a special housing. To
prevent leackage, the slide tolerance has to be relative small, thus effecting
the stigma of the 'relationship' when the condensated breathing moisture on both
slide sides has dried up preventing the 'self-fragmentation' of the mouthpiece
section.

The tremendous adhesion effect can be so high that the slide sticks even during
the playing. I saw this rare event at a concert of Hendrik Meurkens. He then
played exclusively the Hard Bopper. Hendrik was so frustrated by this handicap
that he constantly blows into both slide ends to diminish his artificial
aquaplaning. Of course, he could succeed only badly. Meanwhile, I may have found
an explanation of this worse event a musician can experience: the failing of his
instrument.

Meurkens is a very tall man of almost 6.5 feet and has hands like scoops
(similar Ch. Musselwhite) which complety include his Boppers. His scoops form
the resonance cave recommended by some harp professors at the left of the harp.
This is an interesting parallel to my efforts to find out the sticking areas
on the slide section. Normally, the sticking points or lines are between the
slide back and the lower slide plate at the left slide end! No wonder, I
thought. Once again to your:

>>...seems to develop lines on the front from the back of the mouthpiece,and
>>I've ried grinding these mouthpiece surfaces so that they don't dig into the
>>slide..<<

These lines are caused by the sharp hole rims of the stamping step (same as the
stamped plate slots I mentioned in another list comment). When you draw the
slide between two fingers, you can feel the different hole rims. But grinding
the slide makes the matter even worse because you harm the anodized surface of
the normally chromium- or nickel-plated slides. Only smooth the rims, nothing
else.

>>I've played CX-12's a few times. They play nicely but I don't
much like the sound - despite anything Vern might say, I hear too
much plastic in the sound - I can tell one from across a room
without looking.<<

Meanwhile, you got some comments in the list about your 'plastic
hearing'. When I studied Vern's comments to the 'comb material' subject, I spent
him "standing ovations'. I got the same experience when inserting at first an
original Mellow Tone into my homemade CX brass shells. Result: CX-Mellow sound
somewhat clearer or brighter than the original Mellow. Reason: the different
shapes of the cover plates. Then I compared a CX-Bopper with a Silver CX 12
which have both the same plate thickness. Result: no remarkable sound
difference, though the shell and comb material is brass/plastic respec.
wood/plastic.

Actually, I prefer again the original CX, of course modified, and find that
there is rather 'music in the air' than 'plastic in the sound'. Maybe, you have
a general aversion against plastic and are influenced in your jugdement. By the
way, nobody could define how plastic has to sound.

Pat Missin has already stated that the air column above the vibrating reeds is
one of the decisive sound parameters. Consequently, all harp and human parts
influencing this vibrating column have remarkable effects: chamber ramps,
chamber forms (CBH 2016!), coverings, oral cavity, hand resonance etc. The same
is due to the reeds as the other sound parameter. Reed material effects only the
durability, but the sound is influenced by the lengths, thickness, profiles and
other physical properties of the reeds. With other words: by their shapes.

>>.. Does it (the CB 16) sound less plasticky?<< It can neither less nor at the
whole sound plasticky because it's made of massive metal (the plastic comb
doesn't count).

Siegfried Naruhn Have CX 12 - must metallize?

(BBB, your slogan is ideal, thank you)