Author Topic: Hohner 16's fan club (Read 2669 times)

Philos · « **on:** June 21, 2012, 11:49:16 PM »

I thought it was about time someone started a thread for members to speak in appreciation of the Hohner 16 holers.

Tell us what you've got. Which is your favourite? What do you like about them? Anything

We're all ears.

I know a lot of folks don't like the cumbersome size of the 16's, but they're all I know, so that's not an issue. I've never played anything else. True... ... ... Well, nearly true... when I was a 'pup', every now and again a cheap 'n' nasty plastic toy would turn up and then .. .. .. .. seem to 'go missing' after a little while..?? Hmm??

I like the lower notes and there're a few tunes I like to play that use those lower notes. I find it easier and easier to play the lower notes as time goes on as well.

It seems there's a lot of interchangeability with the parts of the H16's as well. My favourite is one I nicknamed 'The Mongrel', it's a 64X m/p, Super 64 reedplates, 280 covers and 64X comb.

darius_engineer · « **Reply #1 on:** June 22, 2012, 01:20:09 AM »

I like the Hohner 16s. I have the 280 and the super 64 and the latter is easier to play on the first octave whereas the 280 needs a lot of air after playing it over some time. Don't know why. Is it reed fatigue or what? would appreciate some comments.

Darius

HallelujahAL · « **Reply #2 on:** June 22, 2012, 01:38:04 AM »

I have a 280 that plays just great all through the range, so don't have any ideas on the issue that's affecting your harp Darius. I don't play it as much as I'd like, I still find it a wee bit cumbersome. I have quite small hands, and am much happier holding a 12 holer. However. what I am a fan of is the tone, which is just superb!
AL

Ray J · « **Reply #3 on:** June 22, 2012, 03:14:51 AM »

I have a 64 Chromonica, black comb, that I like very much. The ends are a little annoying in the palms though. I changed it from nails to nuts and bolts. It's taken over from my Suzi' SCX56 as my practice harp.

I also have a Super 64X that I just love, it is so much nicer in everyway.
The Super 64X in it's black and gold is beautiful to look at, beautifull to hold and play and with it's double plates has a beautifull tone.
I think the Super 64X great VFM compered with other harps.

Ray

Jimmy Halfnote · « **Reply #4 on:** June 22, 2012, 03:37:36 AM »

You took the words out of my mouth Ray. Pound for pound the Super 64's /280's are hard to beat , when it comes to price, and what you get for your money, hard to beat in all departments , when you consider.
From blues to classical , a real instrument, thoughtfully put together, oh yes these guys are worth the money, but then i am a bit biased , my first Chromatic being one, i sometimes think they get taken a wee bit for granted, considering so many great players have used them in so many genres.
Familiarity ...... ........ ?

jh.

vcleynes · « **Reply #5 on:** June 22, 2012, 04:03:02 AM »

I use for my practice harp an older wooden-combed 64 which I have literally rose up fom the dead. It is straight tuned, has numbers 1 to 16, a shorter round-holed mouthpiece and 3-part slider assembly and has no nail or thin bolt on the upper comb, like the construction of the 12-hole Super 270.

Grizzly · « **Reply #6 on:** June 22, 2012, 05:12:34 AM »

Quote from: darius_engineer on June 22, 2012, 01:20:09 AM

I like the Hohner 16s. I have the 280 and the super 64 and the latter is easier to play on the first octave whereas the 280 needs a lot of air after playing it over some time. Don't know why. Is it reed fatigue or what? would appreciate some comments.

Darius

Check for leakiness and gapping.

I have a Super 64 de-tuned from 444 to 440 that I use in the winter, and old 280 (wood, nails) I got for free and never use, and a CBH 2016, which hasn't been out in public.

The Super 64 is somewhat worn. The comb cracked at one corner, mended with ABS cement. The slide is taped, and other components smoothed.

I should mention I also have an SCX 64, which gets limited use. My go-to harmonicas are my SCX 56 and my several CX 12s. Hal. AL and I agree.

John Broecker · « **Reply #7 on:** June 22, 2012, 08:52:28 AM »

Hello, Hohner #280 Fans.

My favorite Hohner #280-type harps are the Chromonika III, and a Hohner 64 Chromonica, both customized by John Infande of Ocala, Florida.

They have white acrylic combs, screws into the reed plates, and were cleaned, re-tuned, gapped, etc.

Whenever I need accurate pitch, I go to these 2 harps on the Chromatic, when more than 3 octaves' range is needed.

The sound is so Hohner.

Best regards

John Broecker
The Sussex Slidewinder

Tim Atwell · « **Reply #8 on:** June 22, 2012, 04:46:19 PM »

I am in the market for a better chrom, and I have heard so many good things about the 64X. Can someone explain what is meant by the "double reeds" in the lower two octaves? Reed plate twice as thick? Two sets of reeds? Also how do you lower the pitch of the reed? Add something to the tip of the reed and then start filing it off? I wouldn't do it myself, would just like to know.

Grizzly · « **Reply #9 on:** June 22, 2012, 04:53:37 PM »

From the Hohner websie:

"A top quality chromatic for professional use. Increased volume due to double reed plates in the lower 2 octaves. Handmade by using the finest materials: Injection moulded perspex comb, gold plated mouthpiece, black coated covers. "

One set of reeds (no doubles).

Lower a reed by adding material to the tip (low-temp solder) or filing material off the root.

Tom

Wendellfiddler · « **Reply #10 on:** June 22, 2012, 06:42:54 PM »

I haven't got one, never had one, but I have seen them taken apart - the 64X has doubled reedplates on the lower bass octave. Not double reeds. Maybe someone has a picture of one - it's an interesting design. Many people like them.

Doug

vcleynes · « **Reply #11 on:** June 22, 2012, 07:36:02 PM »

Quote from: Wendellfiddler on June 22, 2012, 06:42:54 PM

I haven't got one, never had one, but I have seen them taken apart - the 64X has doubled reedplates on the lower bass octave. Not double reeds. Maybe someone has a picture of one - it's an interesting design. Many people like them.

Doug

Here is a Super 64x, whole and fully disassembled.

Tim Atwell · « **Reply #12 on:** June 23, 2012, 11:32:30 AM »

Still having trouble envisioning double reed plates. One reed plate, but twice as thick for half its length? A reed plate with slots but no reeds slipped under the lower two octaves of a reed plate with slots and reeds?

pax · « **Reply #13 on:** June 23, 2012, 12:53:20 PM »

I really like my super64x and yes a double reed plate which is really cool.

The reed plates a double and on the upper 8 reeds the outer of the doubled plates has a trapezoidal cut out over the reed area and the reeds are attached to the inner plate. The plating on the high end of the mouthpiece is wearing thin and the black paint on the covers is flaking but the thing plays great!

Philos · « **Reply #14 on:** June 24, 2012, 02:34:48 AM »

I love my 64X too. Except she's broken

. It's a reed.. Cracked. It's been out of commission for a year now. Golly.. I miss it.

Better get on top of this situation. It sounds so fantastic..

Ray J · « **Reply #15 on:** June 24, 2012, 03:11:34 AM »

Quote from: Philos on June 24, 2012, 02:34:48 AM

I love my 64X too. Except she's broken . It's a reed.. Cracked. It's been out of commission for a year now. Golly.. I miss it.

Better get on top of this situation. It sounds so fantastic..

It's an easy fix if you have the tools. I've done two on my one with nuts and bolts, they're tiny.
There are instructions on how to do on here and You Tube

Ray

John Broecker · « **Reply #16 on:** June 25, 2012, 08:39:50 AM »

Hello, Super 64X Fans.

The Super 64X's double reed plates go the entire range of the harmonica, but a cut is made on the top plate for approximately holes 9-16.

The 4-sided cut-out is in the far center to right side of the top plate, with the edges of the plate remaining for the entire range, holes 1-16.

I do a similar thing with my timpani (kettledrums).

When a timpano head breaks, I cut out the drum head, save it's rim, and place the rim on top of the new replacement drum head, under the drum hoop. This produces a more in tune sound on the drum, with more fundamental pitch and fewer overtones.

Depending on the diameter of the drum head and vintage of the composition, this could be either good or bad.

Best regards

John Broecker

JoeJazz2000 · « **Reply #17 on:** June 25, 2012, 09:46:22 AM »

I have a Larry Adler Professional 16 from the mid-60s, with a wooden comb. When I sent it to Hohner for a check-out / cleaning two ears ago, the return ticket said that the design was changed over 30 years ago. It is my first chrome, where I discovered what solo tuning was (there wasn't a harmonica media in those days). It was / is lightly played, and I enjoy the richness of the tone of the low reeds. I don't play it much now, either, but I do like to play in the octave beginning at hole 4, when there's a leading tone in the melody below middle C. I think it cost the princely sum of $20 retail.

Philos · « **Reply #18 on:** July 26, 2012, 02:59:17 PM »

Bump....

mmika70 · « **Reply #19 on:** July 27, 2012, 08:09:28 AM »

I like to play my vintage Hohner Chromonika III, 16 holes chromatic, straight tuned, with 6 corner star and that specific pre-War colour of the comb. So, the estimated production year may be 1938 (since 1939 Hohner was forced by german authorities of the time to drop out the star from the trademark). Pre-WWII Chromonika III usually have a specific colour of the (wood) comb - somehow like a marble mosaic - and a matching colour box (unfortunately I don't have the original box, but the red one from a later - maybe 1960 - Hohner 64 Chromonica).
You may see a complete set (Chromonika III + original pre-war box) now on ebay (I have no relation with the seller or the ebay website).
http://www.ebay.com/itm/M-HOHNER-VINTAGE-CHROMONIKA-III-/170885191494?pt=LH_DefaultDomain_0&hash=item27c98d1746
I would really like to have a matching box, but I couldn't find one in Romania or Europe

.
My harmonica plays nice, I just love it, it's in a very good shape for its age (so I suspect that it was re-tuned somewhere in the past by the previous careful owner) and it's probably identical with the one played by my grandfather during WWII.

mouthorganman · « **Reply #20 on:** July 27, 2012, 09:53:27 AM »

Hi mmika70.
If you contact me offline I think I have an extra correct box for your Chromonika III. Not sure what postage would be to Romania? Doug

mmika70 · « **Reply #21 on:** July 28, 2012, 07:29:07 AM »

Hi Mr. Doug (mouthorganman),

Thank You for your nice offer. I already sent an email to you asking about the price. Thanks again,
Marius

dstatt · « **Reply #22 on:** July 28, 2012, 11:13:07 AM »

I only play Hohner Super64 because of all this advantages:
- Four octaves to play.
- Good sound and very comfortable to handle with this special coverplates.
- Perfect mouthpiece.
- Fully screwed, means easier to repair and air tight.

rootboy · « **Reply #23 on:** July 28, 2012, 12:52:39 PM »

I followed thr logical progression, from 280 to super 64, to super 64 x, to cbh 2016;While I love the sound of the 64x, the ergonomics and generally better playability of the cbh makes it my go-to harp. I'm a sucker for that low c. The cbh is plenty sonorous on the low end, maybe not as rich as the 64 x, but rich enough. The individual tone chambers make it much more responsive. While I'm still trying to get a vibrato happening, it'll happen fir\st with the cbh. I love it!.-Greg

vcleynes · « **Reply #24 on:** July 28, 2012, 03:28:38 PM »

Quote from: rootboy on July 28, 2012, 12:52:39 PM

I followed thr logical progression, from 280 to super 64, to super 64 x, to cbh 2016;While I love the sound of the 64x, the ergonomics and generally better playability of the cbh makes it my go-to harp. I'm a sucker for that low c. The cbh is plenty sonorous on the low end, maybe not as rich as the 64 x, but rich enough. The individual tone chambers make it much more responsive. While I'm still trying to get a vibrato happening, it'll happen fir\st with the cbh. I love it!.-Greg

Amen. There's another one here.

Winslow Yerxa · « **Reply #25 on:** July 28, 2012, 05:17:18 PM »

Quote from: rootboy on July 28, 2012, 12:52:39 PM

I followed thr logical progression, from 280 to super 64, to super 64 x, to cbh 2016

The historical progression is more like 280, CBH, Super 64, 64x.

Winslow Yerxa · « **Reply #26 on:** July 28, 2012, 05:21:32 PM »

Quote from: Tim Atwell on June 22, 2012, 04:46:19 PM

Can someone explain what is meant by the "double reeds" in the lower two octaves? Reed plate twice as thick?

Reedplates twice as thick. The edges give the appearance that two reedplates were sandwiched together to double the thickness. This makes reeds swing farther as they swing all the way through the slot before springing back, thus producing greater volume and also a different tonal quality.

Double thick reedplates (which were also a vogue in custom-made diatonics for awhile about 15 years ago) really only help the lower=pitched reeds. So about half way up from the lowest reeds, the upper reedplate is cut out and the shorter reeds are mounted on the reedplate that forms the lower stratum of the sandwich.

Philos · « **Reply #27 on:** August 11, 2012, 04:15:59 PM »

Hi all,

I just wanted to mention something I read a couple of years back concerning how we dismantle and re-assemble our harmunkas. I think it's an important point that doesn't seem to get discussed much.

I must admit I'm only familiar with the Hohner 16 holers, so I'm not sure if this applies to any other make or model.

If you plan on removing (or even loosening) the reed plates, always back off the tension from the MP screws first. Why? This will stop the likely hood of the comb warping along the front, mating edge with the MP, due to the tension on the MP.

On re-assembly, always tighten the reed plates down before tightening the MP screws.

Makes sense doesn't it?

Philos

Philos · « **Reply #28 on:** August 11, 2012, 08:22:07 PM »

Just to add what I wrote earlier...

I'm not sure if the comb would warp permanently. Maybe that could depend on the material the comb was made of also? However I did check this theory one day on a 280 one day and sure enough when I put a straight edge along the front face of the comb there was a gap in the middle. The reed plates had clamped the comb in a warped position. I wonder if that could have anything to do with airtightness? To tell the truth I forgot (or couldn't be bothered?) rechecking the front face of the comb as I re-assembled it in the prescribed order, ie with the reed plates on and the MP assembly off.

BTW.. I'm quite sure this information was/is on one of the Hohner maintenance web pages.

Just thought I'd pass it on.

Cheers

Blue Oak · « **Reply #29 on:** August 12, 2012, 05:38:24 PM »

My first post here. I just got a Super 64, used like new. Graduated from a diatonic that I just started with a few months ago. I have no musical backgound whatsoever. But I want to learn and I like the sound of the harmonica. So far, I like the Super 64's tone and playability. What I don't understand is that I have no trouble with the lowest octave, but it still requires heroic diaphragmatic effort to squeeze anything out of draw 2. How is it that that one note is so hard?

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Author Topic: Hohner 16's fan club (Read 2669 times)

HallelujahAL