[Harp-L] Gapping/Embossing, am I doing it right?



To my knowledge, there are few St. Louis Harp players that expend any specific amount of energy playing "gapped harmonicas" (big picture), or otherwise a harp that is meant to be used for overblowing/drawing (as opposed to a stock harp which is more or less generally not "meant" for that purpose). As to my knowledge Sandy Weltman doesn't really do much work on his own harps; so I'm lost as to a specific guide in tuning/gapping/embossing, etc. I've searched the archives and gathered an abundance of information concerning each matter, however I am still missing some form of a) supervision and b) visual reference.

Would there happen to be some photos floating around of a "properly" set up reed plate that I might be able to at least compare to in a general sort of manner; at least to clear up interpretation issues such as the exact meaning of the word "arch," etc..?

Much Appreciated,
Greg






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