Slidemeister (Chromatic & related only - no Diatonic discussion) > Alternate Tunings

Alternate tunings - the problems

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streetlegal:
I've been thinking about the problems that are associated with changing layouts to achieve, for example the augmented wholetone tuning. The problem - even for the Seydel and Hohner workshops - is that they are working with standard reedplates, with standard slot sizes along with their standard reeds. This means that the alternate tuning reedplates are really compromise re-tunes - and not alternate tuning of equivalent quality to their standard solo-tuned plates.

To achieve an augmented wholetone tuned Chromatic of equal quality to a solo tuned harmonica, it would be necessary to make special reedplates, with the slots custom made to accommodate the correctly pitched reed in the augmented  position, without compromising the performance of the reeds. I think that tuning a reed up or down one semi-tone is ok - but beyond that the response of the reeds will not be so good.

This is a problem, because I really like the idea of the augmented wholetone layout - but things are never as simple as they first appear.

Grizzly:
Be aware of this: all the reedplates for a CX 12 black are identical. Exception: the Tenor, which has unadvertised thicker reedplates. But the slots are the same. The differences in pitch are from the reeds—thickness, especially at the tips of the longer reeds. Slots have nothing to do with it.

The standard 270 has shorter slots; but all the rest of the line have identical long slot reedplates. Again, the difference is in the reeds.

I would assume that Suzuki and Seydel follow the same protocol. From a manufacturing standpoint, it only makes sense.

Alternate tunings, whether retuning  the reeds themselves or replacing them, are limited only to what the manufacturers say will work or not. In all, however, at least with Hohner, there is a whole octave to play with: standard C solo tuning v. tenor tuning.

This is a non-issue.

Tom

streetlegal:
Sorry Tom - I can't see it like that. Individual reeds are specially milled precisely to fit individual slots on the reedplates. That means for example a C reed is made to a precise length and weight to match its particular slot in the solo tuned reedplate layout.

Now in the case of an augmented/wholetone layout the fifth hole blow reed, for example, must change from a C reed to an E reed. That's two wholetones up - a pretty steep pitch inflation. The E reed will be too short for the C slot so a lower pitched reed must be selected to fit and then brought up to pitch by removing metal to make it lighter. It seems to me that this is a compromise that is bound to have an effect on playing response - if precisely milled reeds are as important as the makers always say that they are.

Grizzly:
You're talking about going up in pitch, right? That could be a problem with Hohner and Suzuki, where they don't even make reeds in corresponding slots for anything above a C chromatic. But Seydel does offer chromatics above the standard C, all the way up to F. It would take a little research to determine if their reedplates for those higher keys differ from standard; but if they don't, I stand by what I said.

Certainly, going the other direction (flatter), the reedplates accommodate a whole octave range of factory-milled reeds. My CX 12 Tenor and my CX 12 Gold are equally at home with identical reedplates.

Tom

streetlegal:
That's an interesting point - I didn't think that the C Tenor would have exactly the same reedplates and slot lengths as the standard C CX12. So perhaps I am worrying too much about this - I suppose I will need to experiment. At some point I will just try a straightforward re-tune of a solo tuned Swan, sharpening all of the reeds to make it augmented/wholetone.

I suppose I was thinking about how a Chromatic would be factory made if augmented was the standard tuning system. In that case reedplates would be made with different slot lengths, specifically to accommodate the augmented layout.

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