Q: How should I hold the harp?
A: From " Re: Tone (cupping harp in hands)" 27 May 94 JE
>Eliot C. Williams
This is probably true. I also know that if you are using a mic (say a Shure SM58 or other cardioid type) and cupping harp and mic together - you may be blocking the sides of the mic - which picks up less low frequency and more highs. Depending on how you hold the mic - you may be directing the sound into the "top" or straight into the mic; which will enhance the bass frequencies.
So, I think this is just one more element of many which enter into how someone's total sound is produced. It's not just the harmonica, mic, embouchure, oral / nasal passages, PA / other gear, etc. it's a combination of things. I've had people ask me "What kind of harmonica do you play? it has a nice tone." I smile, say thank you, and show them whatever one I have available, when in reality the harmonica has little to do with it. (not bragging, but I can get halfway decent tone if I try.) If I really tried to explain that it is such and such and such... they wouldn't understand and wouldn't want to hear it anyway. -- Re: Tone (cupping harp in hands)" 27 May 94 JE
I wittered on about hands being important in making a loud sound a little while back. This is difficult to describe because you all do it, but from my experience you could be doing it (say this very quietly Tate) wrong. There is one particular, very precise, hand position for a note which makes that note very loud. Alright call it resonance, but what follows flies in the face of that as a bald statement, that's why I'm being careful. take G hole 7 (G7) on a chromatic (could be any other harmonica but I can swear to this one!) hold the hands so that you have a closed box, finger on button, left fingers resting in the 2nd joint from the finger tips on the right hand, thumbs lying in bed together underneath. Blow gently, NO NOT THAT HARD, gently. Now gradually squeeze your hands open at the back. Take about 10 seconds to open about 1mm. Please don't keel over, you are allowed to breath occasionally (you sort out the damn spelling). At a certain point the sound will suddenly increase dramatically without any increase in breath pressure. No I will not quote decibels, or any other measurement, just say that this is the way I play and it fills the hall. I doubt you will get it first time but it works. I would like to ask my friend Steve Jennings to put a word in about this sometime 'cos he is trying to achieve Nirvana this very pair of weeks.
When you have got it going on G7, try A7. Doesn't work...Tuff, you have to adjust your hands for this note. NOW, acoustic theory, or what seems obvious, says, close your hands a little, higher note, smaller cavity ... Right? No it works the other way, you need a couple more centimeters open for the A. You now have to experiment up and down a bit but always go back to G7 to start with. After you have done this for a couple of weeks your brain /subconscious/empty space takes over and you never have to think of it again. Try it and let me know if YOUR socks fall off when you get the sound. There is no mistaking it, the neighbors move out and the cows give frothed milk -- "Classical harmonica and long lasting reeds" -- "Classical harmonica and long lasting reeds" 24 Apr 95 DT
(FMI: "Bonfiglio and hand position" 17 May 95 DT)
>What I'm looking for is different techniques when playing a *clean* harp with
>a mic, such as how to hold the harp, how far to play from the mic, etc. I am
>able to play with a decent _wah_ technique acoustically, but when I try to
>use a mike, I am unable to pick up this sound effectively. I am trying to >reproduce that SBWII sound.
>. . . For my practice setup, I have my SM58 on a stand . . .
Phil Wiggens does something I hadn't seen before. His "closed" position is with a complete, or nearly complete, hand-cup of the harp, with the vocal mic pointed directly toward the place where he will open the cup. When he does open it, he leans forward so the mic goes right into the cup up near the harp. As you can imagine, it's a very physical way of playing harp -- lots of body English. He did it sitting down, and leans forward a bit even before he opens the cup. Phil doesn't really get a SBWII sound, but the technique was very effective due to the huge volume range he got that way. He sang one song, and nobody changed the mic setting when he did. -- "Re: Acoustic mic techniques" 11 Jun 95 JT
>From "Re: Acoustic Playing with Mic" 11 Jun 95 SP:
I personally dislike the techie solution to acoustic harp with a mic. I think the handheld mic sound has a distinct character whether you're holding an Astatic, a bullet, or an SM57 or SM58. I am unfamiliar with Will Jennings' mic, but that doesn't answer the question about how to get a good acoustic sound. Will Jennings does what you're asking about, but he didn't really describe his way of holding the harp. I suspect that, like me, Will spent a lot of time playing harp with no mic and learned to project to be heard. There's a lot to that.
You want to project your sound forward, and you want to be able to conveniently cup the harp and un-cup it for wah-wah. The sound you hear won't be the same as the sound that comes out the end, but you're practicing with the speakers aimed so that you can hear what you are doing. Butterfield used to play into a vocal mic (listen to his first three records). He held the harp between thumb and forefinger along the bottom and top of harp respectively, and kept his fingers together. Then he'd cup by flipping his other hand over, putting thumb against thumb, palm against palm and wah-wahing by opening and closing the clam shell. The wrist of the hand holding the harp is horizontal. The wrist of the cupping hand is vertical going straight up and down, elbow near your belly.
I can't do that, I don't like that.
I hold the harp in both hands. It is against my left hand at the joint where my thumb attaches to hand, thumb pointed up. Right hand where my middle finger joint attaches to my hand, fingers pointed up. I cup my fingers together. I close it completely only rarely (but I do close completely). Mostly I just open and close. I get a really mellow tone by having the opening about the size of a half dollar (it isn't really round, but think of it that way) and getting about an inch from the mic. Otherwise I'm between 2 and 10 inches from the mic. I've become pretty good at not playing way louder than the other folks, I stay back and only come in to either play very softly or to kill my audience and alienate my band members.
The main thing to be aware of is projecting the sound forward. You can do that without a mic by playing in a room toward a wall opposite you and just listen. Playing acoustically requires a different feel for the playing it's extremely hard to describe, but you'll feel your way around it. In addition to Sonny Boy II, listen to Sonny Terry. -- "Re: Acoustic Playing with Mic" 11 Jun 95 SP
(FMI: "Re: Acoustic Playing with Mic" 11 Jun 95 WJ)
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