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From: Snaru~OL.COM
Date: Wed, 27 Nov 1996 17:22:32 -0500
Subject: Re: CX 12 spring band

On Tue Nov 26 1996 I have exactly explained why the disassembly of CX 12
chromatics must cause difficulties. In this case Stan Getz made the problem
public. Jim Bassey answered to my suggestions to modify the spring band with
an observation at his CX 12 and closed his recommendation not to make
physical adjustments of the band with the wellknown slogan:

>>As with all things harmonica, it's just practice practice practice.<<

That`s exactly what I do with harmonicas. Because harps are considered mass
products, I dare say that there is no harp of any a trade mark which fits an
optimal handling or function. They are not even right tuned. What do you
think Jim, why Joe Filisko, Paul Farmer, Pat Missin, Blackie Schackner, John
Infande, Brendan Power, WVern, and hundreds of other harp players are
constantly busy in changing, modifying and repairing harps. Ask Doug Tate why
he feeled obliged to construct his "Renaissance". You stirred up a hornet`s
nest.

There are harpers experimenting with the proper valve material, trying to
play without slide springs, soaking the wooden combs, cutting their own reeds
of SS or Beryllium, casting plastic combs or making them of massive brass.
OTOH, there are harpers convinced that a breaking-in has an influence to the
reed lifetime or that the sounding depends also on the material. With other
words: there are no harp parts which are finally and optimal. Even the
working of slides e.g. has an improving effect because of the sharp rims
after stamping the holes.

Concerning the CX 12 I know this chromatic from the beginning of it`s
production; I could even test the prototyp in Trossingen. Actually, I build
CX coverings of brass with massive slide bearings and insert 270 bodies
(better sounding) or 4-octave coverings (a CX 16 is not projected).
Therefore, I know also the weak spots of the CX 12 which is the chromatic
design of the future though.

To your rejections in special:

>>I have had my CX-12 now for about a year and, sure, it was quite stiff at
first
>>but it soon loosened up and is now just about right. It is loose enough
for me to ba >>able to disassemble and re-assemble it in a few seconds.<<

That's no wonder because the case slots are now worn. Again a material
problem. In the same way a steel spring of a 270 will change the round hole
in the brass slide into an oval, the CX spring band of hardened steel has no
problem with the slots of the plastic covering. Your experience is the best
evidence. Then you went on:

>>My main worry is that if it has loosened up over one year, then will it
continue to >>loosen until it becomes unusable in the future. Because of
this worry I would >>definately NOT recommend that you make any physical
adjustments to the spring or >>it's mountings but just persist with trying to
loosen it a little through use.<<

That may well be, but your conclusion is not understandable. Just the
contrary, the adjustments of the spring band I detailed in my former post are
more than necessary. BTW, I repeat a remarking you made which shows that one
has to observe the facts exactly:

>>...without being so loose that it falls apart.>>

Obviously, you have overlooked that the CX 12 don't fall apart EVEN WITHOUT
THE SPRING BAND. The four little sticks at the comb bottom click into place
under tension and that's already enough to hold the body in the case. The
spring band has only an additional effect but is not a prerequisite.
Therefore, it was completely superfluous to manufacture such a massive and
hightensioned band causing these known shifting problems.

Moreover, it would have been far better to wave the band so that it touches
the body at two points in the first and last third to achieve a better
tightness. This is not a mere phantasy of mine, but practice, practice,
practice.

Physical modifications of harps are a necessity by insight or neglectable by
indolence.

Siegfried Naruhn