Bushman Delta Frost or Suzuki Harpmaster.

[salmon]

Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.

Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.

I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.

I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.

The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.

I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.

The Lee oskar is OK except for the following observations,

1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.

Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

[Zoran]

BushmanDeltaFrost-longlasting, good response, but not for hard draw or blow,
this harp need gentle ans soft touch.

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

[Keith Adams]

Salmon . If your lips get swelled up by playing a LO then they're going to
get swelled up from any harp. Relax your mouth..
It aint the harp.

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

[T-Bone Bruce]

Post by Keith Adams
Salmon . If your lips get swelled up by playing a LO then they're going to
get swelled up from any harp. Relax your mouth..
It aint the harp.

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.- Hide quoted text -

- Show quoted text -

Yes, they do stamp the numbers in deeper on LO's than they used to. It
is a little uncomfortable at first. I don't find it a problem now
though, that may be because 1) my lips are just used to the harp being
there, and 2) I tongueblock more now anyway and the harp sits deeper
in the mouth, That's part of the "secret" of punchy low notes.
Salmon, why are you convinced it's not your technique? Can you achieve
"fat" sounding tones from the low end on another harp? If yes, then it
may be a problem with gapping the reeds on the LO, but if not, then
it's technique. Breathy lower notes are part of being a beginner. It's
not the harp. Seriously. I know that's not an easy thing to accept,
but I bet if you gave me your harp I'd get good tone from it. Good
tone and playing technique will come, but not instantly, it takes
time.
Please don't take this a as a criticism or put-down, I have been
there, and I have taken a long time to get to where I am. Longer than
it should even. I want to encourage you in playing, not discourage
you, but I need to be honest in saying that most of us thought as
beginners that if we had the right harp (or mic or amp) at the start
we could get those great sounds we hear on the records. Later as we
develop we discover we can get those tones whatever the harp.
You won't be able to bend 6 draw more than half a step anyway, but you
don't particularly need to yet... All harps are difficult to
reassemble, and most of them have small nuts that hold on the bottom
cover plate.
Regards, Bruce

[salmon]

Hi Bruce, thanks for your valued input. You're dead right of course.
I'm only a beginner (a keen learner) and I suppose I should get more
experience under my belt before I get too critical. It's just that I'm
keen to learn the blues and I'm finding it hard enough (especially the
tounging) without having to worry about whether the harp is performing
correctly or not.

Regarding trying to bend draw #6 I ineed it for a rather nice version
of Rising Sun. It's played in the third position (D Minor) on a C
harp. Because I can't depend on #6 bending at will, I have to play
-6 6 -6 instead of -6 -6b -6. It doesn't sound too far off but it
would have been nice to have a reliable bend and play it properly.
Anyway, as I said it's early days yet. Hopefully I'll crack it in
time.

Been looking at Antony Dannekers site. He custom builds Hohners to a
high spec for a very reasonable price. If I get really stuck, I may be
tempted. Thanks for your input though Bruce, it was much appreciated.

[T-Bone Bruce]

Post by salmon
Hi Bruce, thanks for your valued input. You're dead right of course.
I'm only a beginner (a keen learner) and I suppose I should get more
experience under my belt before I get too critical. It's just that I'm
keen to learn the blues and I'm finding it hard enough (especially the
tounging) without having to worry about whether the harp is performing
correctly or not.
Regarding trying to bend draw #6 I ineed it for a rather nice version
of Rising Sun. It's played in the third position (D Minor) on a C
harp. Because I can't depend on #6 bending at will, I have to play
-6 6 -6 instead of -6 -6b -6. It doesn't sound too far off but it
would have been nice to have a reliable bend and play it properly.
Anyway, as I said it's early days yet. Hopefully I'll crack it in
time.
Been looking at Antony Dannekers site. He custom builds Hohners to a
high spec for a very reasonable price. If I get really stuck, I may be
tempted. Thanks for your input though Bruce, it was much appreciated.

Salmon, I thought I'd share a little experience I had on Wednesday
night.
I went to a jam locally, and another harp player was there who was
absoulutely smokin'
He was kind enough to give me feedback and pointers on improving my
playing (and believe me there were lots of ways!) , not least of which
I was playing slightly flat draw notes. I couldn't believe it, but we
checked against a chromatic tuner and he was right. He picked up one
of my LO's and played it spot on intonation (although I cleaned that
harp out later..)
He gave me some tips on how to improve my tongue blocking, and some
scales to do to work on my intonation.
I have been playing for years but I felt like a beginner again! That's
a humbling, and slightly painful experience but a good one for me to
have, because I now have new goals to work toward.
So don't worry. We all have problems or weaknesses in our playing
somewhere.

[Zoran]

Post by T-Bone Bruce
Salmon, I thought I'd share a little experience I had on Wednesday
night.
I went to a jam locally, and another harp player was there who was
absoulutely smokin'
He was kind enough to give me feedback and pointers on improving my
playing (and believe me there were lots of ways!) , not least of which
I was playing slightly flat draw notes. I couldn't believe it, but we
checked against a chromatic tuner and he was right. He picked up one
of my LO's and played it spot on intonation (although I cleaned that
harp out later..)
He gave me some tips on how to improve my tongue blocking, and some
scales to do to work on my intonation.
I have been playing for years but I felt like a beginner again! That's
a humbling, and slightly painful experience but a good one for me to
have, because I now have new goals to work toward.
So don't worry. We all have problems or weaknesses in our playing
somewhere.

What a story. Good to hear story like that.

[Keith Adams]

To me the harmonica is an instrument that sounds best played somewhat
sloppily. I cant see why you'd want to play one spot on the money unless
you're playing in an orchestra?

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

[salmon]

Yes but surely in order to play it "sloppily" you need to learn how to
play it properly first. It's only when you can play it properly that
you'll know how to take short cuts and liberties. It's a bit like art
(painting) some people think they can start just by painting abstracts
without learning the basics of drawing first. They can pull it off for
a short while but the cracks soon begin to appear. IMO.

I'm finding harmonica playing like art. Do the best you can with just
a few notes (colours). There is a whole palette of colours to use but
you don't throw them all into your picture. Just my thoughts.

[Mikel Lee]

Not only does playing have to do with your technique, but also how
well you play with others. Knowing when to ride it in the background,
bring it up to the front, back off completely and let 'er rip takes on
stage experience. Once you get your playing down to where you're
comfortable with it, take it out to some jams and practice w/others.
Most importantly...HAVE FUN!

[Keith Adams]

This post might be inappropriate. Click to display it.

[Alexander Mcleod]

Post by Keith Adams
I'll leave that shit to the guitar players myself.

Nice shot!

[Mikel Lee]

I only posted that as we've had so called "harp players" come to our
jam and walk all over the other musicians. Therefore I felt it
important for a new comer to know that it's important how to find the
grove with a band and not just outright play over others. Of course
those of us that have been doing it for a while know that. Newbees
may not.

On another topic, aren't you in Missouri? Have you ever heard of
Clayton "Clay" Goldstein? (Tost Music) He's down here now in S.
Florida. He came out the other night to our jam and lit things
up...very good harp player.

Enjoy your Labor Day weekend.

Post by Keith Adams
You guys make more out of playing a harmonica than there is to it. Of course
you need to know how to play with other band members if you plan on being
in a band.

[Ralf K. Buschner]

Post by salmon
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.

You got to get TONE, man. That's all of the secret. Beginners tend to blame
the harp for not sounding powerful, and start to buy each model and try and
try - and years after years they try every amp they can get and they
continue the game on a higher level - war about material.
Grab a harp and blow your ass off - that's the secret. Intensity. Let go and
play. Blow all your soul through the tin sandwich, and then you begin to
sound right, no matter what harp you use. When you play those looong,
vibrating, intense low notes, imagine how the sound is flowing through your
harp, your hands, and dispense through the air. Play for the audience in
the back of the room, not for those standing close to you. Projection of
sound...

Post by salmon
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.

Beside the round corner thing, that's a bunch of nonsense. Special 20s are
workhorses. I have a lot of different harps, different brands, and SP20s
are the ones i like most - they give the most bang for the buck, and
they're reliable.
LO's are tuned in equal temperament - good for jazz players, maybe, but
impossible for blues.
Hering Vintage 1923 - a great harp, sharp tone, loud, tuned in Just
Intonation (listen to Big Walter, if you don't know that. Whenever his tone
seems to be a bit out of tune, than it is because of the Just Intonation of
his harmonicas, but this is exactly what makes his chords sounding that
full, and make the higher notes so soulful bluesy.
Suzukis - not bad, rather prizey, and broken reeds can't be replaced, since
they are welded instead of riveted.
Seydel - not bad, but (in my opinion) to expensive. Plays somehow strange,
since they are way to responsive and the hence the reed brass don't last
very long. I tried several of them, not a single one lived longer than 6
weeks. The 1847 model is killer nevertheless, but expensive.
Hohner SP 20 - works, works, works. Sounds a bit muted, great for amplified
playing. Absolutely my size of shoes.
Hohner Marine Band deluxe - greeeat for acoustical playing. Direct
Competitor of the Hering 1923, sounds warmer than the 1923.
Compromised Just Intonation Tuning.

Nevertheless, everyone is playable, and i sound like myself with either one
of them. You are the source of the sound, not the harp.

Seeya, Ralf

[T-Bone Bruce]

Post by Ralf K. Buschner

Post by salmon
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.

You got to get TONE, man. That's all of the secret. Beginners tend to blame
the harp for not sounding powerful, and start to buy each model and try and
try - and years after years they try every amp they can get and they
continue the game on a higher level - war about material.
Grab a harp and blow your ass off - that's the secret. Intensity. Let go and
play. Blow all your soul through the tin sandwich, and then you begin to
sound right, no matter what harp you use. When you play those looong,
vibrating, intense low notes, imagine how the sound is flowing through your
harp, your hands, and dispense through the air. Play for the audience in
the back of the room, not for those standing close to you. Projection of
sound...

Post by salmon
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.

Beside the round corner thing, that's a bunch of nonsense. Special 20s are
workhorses. I have a lot of different harps, different brands, and SP20s
are the ones i like most - they give the most bang for the buck, and
they're reliable.
LO's are tuned in equal temperament - good for jazz players, maybe, but
impossible for blues.
Hering Vintage 1923 - a great harp, sharp tone, loud, tuned in Just
Intonation (listen to Big Walter, if you don't know that. Whenever his tone
seems to be a bit out of tune, than it is because of the Just Intonation of
his harmonicas, but this is exactly what makes his chords sounding that
full, and make the higher notes so soulful bluesy.
Suzukis - not bad, rather prizey, and broken reeds can't be replaced, since
they are welded instead of riveted.
Seydel - not bad, but (in my opinion) to expensive. Plays somehow strange,
since they are way to responsive and the hence the reed brass don't last
very long. I tried several of them, not a single one lived longer than 6
weeks. The 1847 model is killer nevertheless, but expensive.
Hohner SP 20 - works, works, works. Sounds a bit muted, great for amplified
playing. Absolutely my size of shoes.
Hohner Marine Band deluxe - greeeat for acoustical playing. Direct
Competitor of the Hering 1923, sounds warmer than the 1923.
Compromised Just Intonation Tuning.
Nevertheless, everyone is playable, and i sound like myself with either one
of them. You are the source of the sound, not the harp.
Seeya, Ralf

Hi Ralf, nice to see you here again...
I recently got a Marine Band Deluxe, which I quite like after playing
plastic bodied harps for years. I also got a Sp20 again after years of
LO's, because Hohner had the good sense to put stainless coverplates
on them now. Next purchase is going to be a "custom" Marine Band with
a sealed comb and screwed on reed plates/covers done by local harpman
West Weston, which is only �2 more than a MBD. You can play blues on a
LO- it's not "impossible" but the chords don't sound as full. I
haven't tried the Hering 1923 - I had a "black blues" which I wasn't
impressed with, but they're a good deal cheaper than the MBD. How do
they hold up over time?
Bruce

[Ralf K. Buschner]

Hi Bruce,

Post by T-Bone Bruce
Hi Ralf, nice to see you here again...
I recently got a Marine Band Deluxe, which I quite like after playing
plastic bodied harps for years. I also got a Sp20 again after years of
LO's, because Hohner had the good sense to put stainless coverplates
on them now. Next purchase is going to be a "custom" Marine Band with
a sealed comb and screwed on reed plates/covers done by local harpman
West Weston, which is only £2 more than a MBD. You can play blues on a
LO- it's not "impossible" but the chords don't sound as full. I
haven't tried the Hering 1923 - I had a "black blues" which I wasn't
impressed with, but they're a good deal cheaper than the MBD. How do
they hold up over time?

the Vintage '23 is really worth a try. Although some folks report to kill
them quickly, they usually last longer than my Seydels, and i use to play 2
of my Herings very often. Depends on your embouchure and attack, i assume.
What i like on them: The Just intonation tuning and their sharp sound. Try
them, i'm sure they will find their place in your collection!

cu,
Ralf

[Harpman]

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

Buy the Bushman Delta Frost harps if you have the bucks! Allen

[T-Bone Bruce]

Post by salmon
Been overdoing it on my Lee Oskar. As you may remember I'm a newcomer
to the harp and have been learning how to play. I've been self
teaching with tips I pick up an the web and recently got a tutorial
book/CD by Peter Picklow. How the hell he can make his harp sound so
punchy and loud on the lower notes, I'll never know. The book cover
shows a Marine Band harp but it doesn't say inside which one he
actually uses though. Any ideas anyone please? My lower notes sound
really breathy in comparison to his.
Anyway, due to the top plate numbers being so big and deep, I look
like I've got a trout-pout. My top lip is swollen and quite sore and I
have to have periods of non-playing which is annoying cos I want to
get on and learn.
I'm thinking of buying another harp but can't make up my mind about
what to get. I want something that is loud like the Lee Oskar but with
a cleaner top plate, eg. Smaller and shallower etched numbers.
I've been looking at two that sound as though they may fit the bill
and would like the opinion of the experts on here please.
The Bushman Delta Frost has good reviews. It has phosphur bronze reeds
will take some punishment, is reliable, airtight and loud (so they
say) then there is the Suzuki Harpmaster. The japanese quality
appeals here, plus I read somewhere that the Bushman uses identical
reed plates that are laser tuned. So these are the two I have in mind
at the moment. Your opinion is invited please.
I have discounted the Special 20 due to people saying thay are not
that robust, can be blown out fairly easily and don't have rounded
corners, which I like for comfort reasons.
The Lee oskar is OK except for the following observations,
1. Numbers too big and deeply etched (pressed) on top plate causes
sore lip.
2. Lower notes very breathy. I'm convinced it's not technique but poor
tolerancing during manufacture.
3. Having major trouble trying to bend #6 draw.
4. Top and bottom plates are a pig to re-assemble accurately after
maintenance or cleaning.
5. Don't like that little nut on the bottom plates.
Once I find a good one I'll stick with it. I know the LO is really a
re-badged Tombo (Japanese) but I'm hoping the Suzuki will be more
accurately made with higher tolerances. Pity we can't go in a shop and
try them out beforehand.Your opinions please.

Buy the Bushman Delta Frost harps if you have the bucks! Allen- Hide quoted text -
- Show quoted text -

Hi Allen, great to have you back.
I hear good things about the Delta Frost, but I have to get them mail
order in the UK. I believe they are tuned 12TET, and at the moment I
have a thing for Just Intonation/compromised JI because I'm tongue
blocking most of the time, and I've just joined a new band playing
acoustic roots & blues.
Bruce