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Date: Wed, 11 Sep 2002 13:29:28 EDT
From: Spschn~ol.com
Subject: Re: Hohner 280/64 Chromonica =?ISO-8859-1?B?rQ==?= Leaky

Ray,
I very strongly suggest doing what I would call a "mild" embossing job on
your 280. You can do it with the windsavers on, so long as you are careful,
and use the comb as a support while you work. Take the 280 apart, put one
reedplate on the comb, and emboss about the tip half of each reedslot; don't
go further or you'll change the gap and have to regap. Go gradually; you can
hold the slot up to a strong light, push the reed tip level with the plate,
and see how close the edges are even with a windsaver on; play the note as
you go or plink it to make sure you're still swinging free. You don't have
to size the slot terribly tight; if you consider how large 280 reeds are and
how much clearance there is around them, then cutting that down by half on
half the reedslot has closed a substantial "hole." For an embossing tool,
I'm currently using a 1/4" drive Craftsman 4mm socket, stuck on a 3/8"
adapter & 3" extension to make a pencil-type setup. Work out on a dead
diatonic reedplate or two if you haven't embossed before; ~don't~ charge
right in on your 280 for starters.

You will get two very useful things for your playing context as a result:
More airtightness, and the crisper highs/improved loudness of embossed slots.
The latter really helps you cut through the mix better onstage. I did the
above to Sonny Boy Terry's 280 while I was tuning it for him and he couldn't
believe the difference, and his band actually thanked me for being able to
hear the thing better. It's not the usual path for improving a chro, but if
you play in an amplified blues/rock band, I think it's the most effective
thing to do to a 280 or Super 64 for stage use. You just might find yourself
working your Hering over too, once you're comfortable with the procedure.

Stephen Schneider
Houston, Texas