Harmonica and Other Trivia for Gear Heads

I've been asked on virtually every gig about what harps, amp, microphones etc. that I use, especially lately as I've returned to my blues roots and I'm playing a lot more of the little devils.  I love to discuss these things so I decided to devote a page to the subject.  Besides it gives me another chance to opinionate.  Cool!

HARPS:

I can state categorically that the best harmonica currently on the market is the Seydel 1847 .  If you are really serious about your playing then it is mandatory that you have a serious instrument.  Quality costs but cheaper is not necessarily the best value for money.  And my Momma always taught me that it's all about value for money.  You can find some very interesting information about Seydel as a company at their website as well as their various models.  But let me tell you my personal experience and why I can heartily endorse them.

First of all they just play way better out of the box than any harmonica I have tried in 42 years of playing.  They are in tune for a start and I'm positive its because they are actually tuned by a real person by hand.  The spacing of the reeds is very slightly wider than Hohner or Lee Oskar.  Not enough so that you notice any real difference that would require getting used to but enough so that accuracy is greatly improved.  In other words, it's easier to hit the note you want clean.  Very unique are the stainless steel reeds as opposed to the normal brass.  In theory these will last longer.  I haven't been using Seydel long enough to confirm this but the physics of metallurgy would bear out the theory.  If so, on durability alone it would increase the value for money factor.

There are two versions of the 1847, the Classic and the Silver.  The Classic has a maple comb.  The Silver has a white plastic comb and German silver plated reed plates.  The Classic also features a slightly oval shape to the holes.  It's an extremely marginal thing between the two but personally I prefer the Classic with the maple body by a hair.  I am prejudiced towards wood and the oval shaped holes seem just a little nicer to play but again I'm really splitting hairs.  I have both models and love them both.  It's strictly a matter of personal taste. 

The other thing I really like about the 1847 is the lack of engraved hole numbers on the cover.  I never understood the need for them in the first place.  I mean, you can't see them when playing and if one is a beginner learning out of a book that says blow hole 4 surely if you can read the book you can count to 10!.  The absence is noticeable in a smoother surface to run you lips over as you're going up and down the instrument.  And have no doubt, the Seydel 1847 is a proper musical instrument.

I could bang on for days about Seydel but suffice to say, just like going from a cheap guitar to a quality guitar, the instrument will improve your playing and most importantly the joy of playing.  Everything becomes easier and things just flow because you're not fighting the instrument.

One final thing, Seydel USA is a much better company to deal with than either Hohner or Lee Oskar/Tombo.  I had a little trouble tracking them down but I actually received a personal phone call from Seydel USA in reply to the message I left.  Rupert Oyster, the US distributor, was very helpful and informative.  A marked contrast to the void known as customer service that I have experienced with other companies.

                                                                               Microphones

I use an original Shure 520 with a black label Controlled Reluctance element.  As far as I can determine the mic was manufactured somewhere around late 1949 to early 1950.  It came in its original box and packing!  I'm pretty sure it was used very little if at all.  That has certainly changed.  I had a 15' Planet Waves cable and a 250k volume pot installed by Bill Webb at Austin Vintage Guitars.  I know nothing of metering output but I can tell you this thing is as hot as they come.  I just love it.

In the past for amplified harp I've used Shure 545 (okay for a sort of Butterfield sound), the JT30 Astatic, the Shure X777, the Shure 520D (the first made in Mexico reissue of the 520) and a Shure 520 with the Controlled Magnetic element.  Some players prefer the JT30 to the Shure 520 but again it's a matter of personal taste.  The Astatic type mics cut like a chain saw and are very aggressive but personally I miss the lack of warmth.  A good hot 520 can be as aggressive as you like but there's some bottom to go with it.  Although I prefer the CR elements the CM elements are also great.  I had to sell mine to buy the CR, something I really regret having had to do.  By the way, the Mexico 520s pretty much suck in my view.  They are nothing like the originals and yet are nearly as expensive.

For acoustic style playing I use a Shure SM58, the industry standard vocal microphone.  I have the sound guy back off the treble and mid to about 10:30.  Be careful at sound check to be sure there is no feedback as you close in on the mic.  Remember that acoustic playing does no require an airtight hold on the mic as with amplified playing.  It's a very different technique.

Amps

I recently discovered the wonderfulness of Genz Benz amplifiers.  I now use a Black Pearl 30 112T for guitar.  The Black Pearl is a fantastic amp in every respect.  I could write a whole page waxing rapturous over it.  Suffice to say that I used to play both harp and guitar through my Vibroverb (see below).  I now use two amps, the Black Pearl 30 with a Kalamazoo for harp sitting on top.

'66 Kalamazoo Model 1:

I use the "Zoo" both for recording and live.  On stage it gets mic'd and rum through the PA.  It's fantastic.  Cut for days.  The first one I scored was a closet find complete with clear vinyl dust cover.  It is spotless.  There wasn't even any dust on the inside.  It had literally been put in a closet with its cover for decades.  I took it to Bill Webb at Austin Vintage who was stunned by the condition.  He replaced the capacitors as they dry out with age and replaced the power cord with a long grounded one so I don't die. 

I recently aquired a second Kalamazoo, also a Model 1.  It has been recovered and the handle replaced.  I'm going to retire the closet find and keep it in it's great condition.  With the second one I might replace the original CTS with a Weber.  The CTS is a nasty little speaker, which is a quality in itself, but I think a Weber would get me a bit more volume. 

RI '63 Vibroverb Modified:

My reissue '63 Vibroverb upgraded with Weber Chicago Series 10A125-0 speakers.  I've also swapped out the cheap Chinese tubes with RCA black plate 6L6s for power tubes, Telefunken 12AX7s for the Bright channel preamp, reverb, and phase inverter slots, and a Amprex 12AT7 for the Normal channel.  The run my Telecaster through the Bright channel and the harp is run through the Normal channel.  I still use this amp whenever it's just not practical to bring two separate amps.  It's also better than money in the bank.  After simply holding it's value for many years the last couple of years have seen the prices gradually rise as the word starts to spread.

I love Weber speakers.  They are far and away the best replacement speaker for anything like vintage tone.  I'm sure they are good for other applications and styles as well but I'm into vintage, as you may have guessed.  The "0" designation is their smooth cone which breaks up a bit earlier than the normal ribbed cone.  The Webers  were probably responsible for the most improvement in the sound of the Vibroverb.  Having said that, the use of USA made vintage tubes was also a marked improvement.

Messing about with different tubes can be quite a revelation.  The stock Vibroverb uses 12AX7s throughout, but for harp they have too much gain.  This means that it's difficult to drive the output tubes hard without getting the dreaded feedback.  I went to an RCA 12AU7 but that reduced the gain too much.  I could wack up the front end but I couldn't get it loud enough.  I then went to an RCA 12AT7 which was better but seemed a little harsh.  I then discovered the Amprex 12AT7 in a the back of a drawer that I had forgotten about.  Man, what a difference.  The Amprex is a very collectible tube and have become much sought after.  The difference in my amp even from the RCA was extraordinary.  That Amprex is sooo creamy and much easier to drive hard before reaching the feedback threshold. The best $16 upgrade you can imagine.