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BLOW NOTES
To raise the pitch, use the hook tool (4) to push the free end of the reed
through and out of the slot from inside the channel (E), so that you can slip
the blade (5) underneath it (F) and file (2) the tip as with the draw reeds (G).
To lower the pitch, gently scratch the reed lengthwise at the rivet end
(H) with the scraper (1). You can also use the hook tool (4) to support the
reed from inside the channel. Be careful not to press too hard and bend
the reed. It's advisable to always proceed with care, especially at first.
Although it's possible to tune by ear a more exact result can be obtained
by using an electronic tuner. It is also recommended to tune the various
octave notes (e.g. 3 + 6 on a diatonic harp) equally, so that no interference
beats can be heard when the two notes are played together. You can
also tune the plates of a disassembled harmonica. In this case, proceed
as when tuning outer reeds. Be aware that the final tuning should be
checked with the instrument completely assembled.
CENTERING AND ADJUSTING REEDS, REMOVAL OF BURRS
In order to vibrate freely; the reed has to be positioned exactly in the
centre of the slot. If you hear a tingling metallic sound at the same time
as the main note, the reed might be off centre. This may happen if the
harmonica is dropped, or the reed might have been pushed out of align-
ment during tuning and adjusting.
The gap between the sides of the slot and the reed itself measures only
a few thousandths of a millimetre, so that the tiniest misalignment to
one side or the other, or even a slight burr on the reed or the slot can be
sufficient to cause the reed to stick (I).
(inner reeds)
It is often possible to correct problems of this
sort by gently centering the reed (J) by using
the opposite end of the blade tool (5) as you
would use a normal nut
wrench.
burrs, carefully file out
any burrs along the sides
and across the tip of the
reed and/or the slot. You
can judge by the sound if
the reed is centered, or
you can look at a disas-
sembled reed plate against a soft light source (a blank computer screen,
for instance) (K).
ADJUSTING THE REED GAPS (offsets)
The response of the individual reed depends strongly on its relative posi-
tion to the reed plate, called reed gap or offset. You can adjust the reed
offset to suit your playing style. As a rule of thumb, the distance between
the reed tip and the reed plate should be approximately the same as the
thickness of the reed tip (M).
adjustment so that it can settle into its new rest position. For loud players
who use a strong attack (electric blues, rock, percussive styles), a higher
offset will be best. For a softer playing technique and lighter attack (jazz,
overbend, melody, folk), a lower gap will be of advantage. If the gap is
too low, or the reed is flush with the plate, the note will choke and not
sound at all (N). If the gap is too high, you will need too much air to play,
and response will be poor (O). Hohner harmonicas are gapped so that
they have good response without choking easily, which may be a little
high for players using overbends (M). You might want to experiment
with reed gaps and curvatures to find your own optimal setup.
M
To
eliminate
Use the reed lifting blade (5) beneath
the reed and your fingers on the top
of the reed to adjust the offset (L). This
process requires care and attention in
order to avoid pressing the central por-
tion of the reed into the slot, which has
a negative effect on reed response. Re-
member to pluck the reed tip after each
O
N
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