Andrew's blog

How to install a comb (it's very easy!)

It hadn't occurred to me to make a video showing the process of installing a new comb until now because it's just so straightforward. But Rockin Ron pointed out to me that he gets asked that question quite a bit and it would be a good idea to do one.

I'm very thankful for my dealers because they help me so much. Thanks Ron!

Here's the video:

POW! How I test my hardened steel reed removal pin

Don't try this at home!

My reed replacement tools are made with hardened steel. I harden and temper the steel myself by hand. This is how I test the tip of the reed removal pin. It's tough enough to poke itself into a steel bar like a nail into wood!

The sharp tip is ground down - it needs to be flat at the tip to push the rivet out, not spit it in the middle!

Feedback about my combs

I've been getting emails almost every week from folks telling me my Dark combs™ are the flattest combs out there. They often tell the same story of some mysterious problem with response or stiff reeds suddenly disappearing when they installed one of my combs.

I check every single comb (both sides, both axes) and flatten them by hand. I take nothing for granted.

Upon final inspection, only one of the combs in this photo needed some serious flatness correction. But they all got checked!

You can flatten your combs, too! Use my comb tool™ (instructions and support included).

Hohner Affiliated Customizer Program

After years of hard work, I am humbled to have gotten the news from Joe Filisko this morning:

"I'm happy to say that Andrew Zajac has PASSED the rigorous tests and is now officially part of the Hohner Affiliated Customizer Program."

Thank you so much, Joe!

This is only the beginning - I intend to work just as hard and continuously strive to produce a better harp.

(video) Plinking thinking

Plinking is an essential part of gapping and reed work. Here are a few things you were never told about plinking.

How hard should you plink? How fast? How often? How do you hold the plate as you plink? What should you listen for?

(video) Flattening the draw reed plate

Here's local harmonica player Wayne Riley ( flattening the draw reed plate on a stock Manji harmonica.

Flattening the draw reed plate is the easiest thing you can do to get a dramatic increase in performance.

(video) Basic Tool Kit for Basic Diatonic Harmonica Adjustments

This kit is for those who like to spend ten minutes or less per harmonica on gapping, tuning and other adjustments.

You don't need to be a customizing whiz! These are the tools you need to get the essential things done and keep you playing.

Get the kit here

This kit provides what you need to work on harps anywhere.
Use this kit to:
-Adjust reed shape and gap
-Fix tuning troubles without having to take apart your harp!
-Fix Reed Centering
-Replace lost screws

-Solid brass reed shaping tool
-Five Cent Tuning Tool™
-Multi-purpose Reed Wrench/Tuner/Support Tool and Plinker
-Small assortment of harmonica screws

(video) Overblows and harps

Here are a few thoughts on overblows and harmonicas. These ideas are relevant to both setting up and playing overblows on the diatonic harmonica.

- Overblows, overdraws, overbends are just like regular bends. The same thing that causes a regular note to bend causes the note to overbend.

- Air flow makes the reeds move and resonance affects the frequency (pitch). This is basic to how the harmonica works.

- Resonance can make a reed stand still. Resonance is kinetic energy and it can greatly affect the frequency of a reed.

- Resonance has a strong effect on both reeds when regular bends are played. Regular bends are double reed bends and overblows are single reed bends - they have a different behavior and sound.

- Resonance has a weaker effect on the closing reed than the opening reed during an overblow. If you can't hold and overblow note, it's likely because the reed that's supposed to stand still is not standing still.

- There are several kinds of overblow. Which is your favorite?

- It’s technique, but it’s also the harp. You need technique to play overbends but you also need a harp that will respond to your playing.

A new take on embossing

"...Here's how you do it: Only emboss half the slot...."

Embossing is SO misunderstood.

Embossing decreases the amount of space between the reed and the slot. It's as simple as that!

Why do it?

- You want to improve response
- You want a little more volume
- You like a bright sound

Why would you not want to emboss?

- You don't like bright tone

Embossing doesn't fix anything!

Do not ever try to fix a problem with embossing. If a note doesn't play well, spending 30 seconds embossing won't help. And when you are not happy with the result and decide to emboss some more - this time with more force - you will probably overdo it and end up damaging the reed plate.

To fix a misbehaving reed, make the harp airtight and fix the shape of the reed. Once you have done that, you can try embossing to add a little extra juice.

Embossing isn't just for overblows!

It would be a challenge to set up a harp for overblows without embossing, but that doesn't mean you can't take advantage of the benefits of embossing on a general-purpose harmonica.

Also, in of itself, embossing doesn't make your harp play overblows any easier. Not to any useful degree anyway... Again, the shape of the reeds counts for a whole lot more.

The Dark side of embossing

Embossing can cause problems. If you overdo it, your reeds will start to sound thin and the high overtones will become more present. As you continue to emboss, you will start to hear the reeds buzz. If you continue further, you will make the reed seize.

None of this causes permanent damage; you can undo embossing. But if you force the reed while trying to fix the damage, you can wreck your harp.

Embossing a harp is a job that takes a few minutes. If you are spending more time fixing the damage than you are spending time embossing, you are doing something wrong! I'm not saying you should rush your work but if you are spending hours embossing, you should probably re-think your process.

Less is more: Get the advantages without the drawbacks!

Gentle embossing can offer you a lot of the advantages of embossing while avoiding 99 per cent of the drawbacks.

Here's how you do it: Only emboss half the slot.

Find a round metal object like a 10mm chrome-plated socket driver, or the tip of one of my pin vises.

Hold the object halfway down the slot and press down. Press about as hard as you press a touch screen phone. Move the round object towards the free end of the slot (towards the reed tip).

You won't be able to see the little ridge you have created on the inside of the slot just by looking at the reed plate. Feel the inside of the slot with your fingernail. Pick at the side to see if you have created a little ridge on the inside of the slot. If you feel nothing run the round object down the slot again, this time with a little more force.

Do it until you have used just enough force to create a ridge (or burr) on the inside of the slot. Repeat the process on all the other slots one at a time starting from the halfway point and going to the free end.

On the weighted low reeds, you may need to position the reed plate over the edge of a table so that the tip of the reed can "peek" out the bottom of the slot as you move your round tool towards the tip.

Next, check your work. Use this hand position and angle the reed plate to look through the slots:

The shortened view of the slot is a low-tech way to zoom in and see how close the reed is to the sides of the slot. No extra equipment required (Microscope, Light Table, etc...)

Push the tip of the reed through the slot while you are looking to see if the reed touches any part of the sides. You'll also see if the reed is off-center as you do this. If you embossed with gentle finger pressure you should still have lots of room on either side of the slot.

If you overdid it in some areas, you will see it using this view. You may also notice the reed has a prickly/buzzy sound or maybe it doesn't even plink? To fix it, push the ridge of metal back. Use gentle force in the areas you need to target so that you don't completely undo your work.

Use a round piece of metal like a reed tool or a safety pin.

Since you only worked on the front half of the slot, you should be able to get your tool in position from the under side of the slot. The reed won't be in your way, it will simply be pushed up a little. Plink the reed a few times and re-check.

Now, put the harp back together and play it! You should notice more responsiveness and louder sound.

The reed shape, gap and tuning should be unchanged after embossing this way because we only worked on the free end of the slot. Not bad for a few minute's work! This method is a real time-saver!

If you are interested in embossing to the fullest possible limits, try Full Slot Embossing.

FIXED! One in a thousand WORST harmonica reed plates!

A harp player bought one of my combs from Rockin Ron's and had a little trouble getting the harp to play well. Here's why!

Just like maybe one-in-ten harps plays really well from the factory, this one suffered from defect and was the worst of the bunch.

It's fixed, now.

This particular harmonica is a Delta Frost but these defects happen with EVERY brand of harp. There are no exceptions. The only harmonica free of defects is a proper custom harmonica.

My combs are here:

My tools are here:

USA harpists, find my products at Rockin Ron's:


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