Custom Tools from a Customizer Harmonica Workbench with Kinya Pollard

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1 Custom Tools from a Customizer Harmonica Workbench with Kinya Pollard Mel Bay s HarmonicaSessions ezine August 2009 In my experience, I have found the well sought after Tradesman (oops), Tradesperson, Craftsperson and Harmonica Customizers all have a Zen-like quality about them. These experts surround themselves with people and tools that provide absolute focus on their craft, resulting in exceptional works of art and highly functional products. Harmonica Customizers, in particular, are always searching for specialized tools that will enhance their craft and help build consistently high quality harmonicas. When I learned that internationally renowned Richard Sleigh was putting the finishing touches on his new book and tool kit, I did not hesitate to order my set. Inventory The Richard Sleigh Tool Kit arrives! Like with all wonderfully wrapped gifts, I took my time to enjoy the smell and touch of this fine leather package (courtesy of J.L.Spoor). 1

2 The tools, carefully bundled in cloth, are unveiled as I rolled out the pouch (which coverts into a perfect work surface). Contents of RS Took Kit 2

3 Two three squared files are included. On the left is a high quality Swiss file used for fine tuning the reeds and the larger medium grade file shown on the right is used for bulk material removal (e.g. solder). Shown is the 4 in 1 bit tool holder with draw scrapper (top) and screwdriver bit (bottom). 3

4 Here is a close up view of Richard s innovative razor sharp draw scrapper. Multi purpose reed support and wrench tools: The top right tool for blow reeds, and my favorite, the bottom left tool for draw reeds. 4

5 Your eyes are not deceiving you, it is a modified paper clip, and as a reed lifter tool it works great! Bench Time I identified draw reed 9 to be flat. This was a perfect opportunity to try out the reed support tools. The chisel sharp draw reed support tool slipped effortlessly under the low offset (.004) reed. 5

6 The hourglass shape of the draw reed support tool provides a solid backing for the reed and protects the reed plate and comb surfaces as well. Tuning the draw reed with the file was effortless! 6

7 Moving onto the blow reeds, I placed the paper clip into the slot and gently turned the tip of the paper clip upward to push the reed through the slot. This provided enough clearance to place the blow reed support tool into the slot. There are numerous strategies for tuning blow reeds on an assembled harmonica: This photo demonstrates the file method. 7

8 Similar to many Japanese tools, the cutting occurs on the pull (draw) stroke. As shown in this picture, I am preparing to shave off metal from the surface of the reed tip. Here I am removing the long edges of the reed tip. 8

9 For this final technique, the draw scraper reaches into the reed slot to tune the reed. This strategy requires more skill and patience because you are working blind, completely done by touch, but well worth your time to learn. With the reed plate removed from the comb you are able to see the results of the draw scrapper. Note the material removed (shiny) from the back left edge of the reed. 9

10 In the event the reed clicks and clacks against the reed plate, use the reed wrench end of the reed support tool to re-center the reed within the slot. Book Review I had an opportunity to review advanced copies of R.Sleigh Harmonica Tool Kit Guide and Turbocharge Your Harmonica Volume I: Straighten Up and Tune Right! The Guide book which accompanies the tool kit is a no nonsense tutorial on the proper strategies for using his customized tools. The illustrations are clear and concise. The soon to be released Turbocharge Your Harmonica Volume I: Straighten Up and Tune Right will be required material for all aspiring and professional Harmonica Mechanics. Included in Volume One: tuning techniques, the A to Z of proper reed curving and offsetting (unbelievably important chapter), and the science behind selecting the proper tuning system (one of my favorites): Equal Temperament, Just Intonation, and Compromised. Volume Two will focus on reed replacement as well as advanced upgrading techniques, such as embossing. All books and tools reviewed in this issue can be ordered directly from Richard Sleigh at:

11 Richard Sleigh s Biography Richard Sleigh was born in 1951 in Philipsburg, Pennsylvania. He began playing the guitar at age 8 and harmonica at 12. His early influences were Hank Williams, The Beatles, Bob Dylan, Canned Heat and Creedence Clearwater Revival among others. He began listening to Sonny Terry, Little Walter, Sonny Boy Williamson I and II and other classic blues harmonica players at age 17 and that is when he became seriously interested in the diatonic harmonica. Richard received a Bachelor of Fine Arts degree in printmaking and drawing from Penn State University and has worked in a number of different jobs including deckhand, artist, graphic designer, as well as performing and studio musician. As a musician, Richard has played with the Bridgeton Symphony Orchestra, has backed up Bo Diddley, Taj Mahal, Maria Muldaur and others, and has created music for award winning films, as well as music for radio, television, and stage productions. He has played as a solo act in a number of venues including conventions and festivals. In the early 90s, Richard was working on an idea that he wanted to patent a version of what is now known as the XB 40. Richard lived in Philadelphia at the time, and harmonica enthusiast Wade Schuman checked out his prototype harmonicas and alerted Richard to an article in The Philadelphia Enquirer about Joe Filisko building custom harmonicas. Richard tracked Joe down, visited him, and showed him his prototypes of this harmonica and also played music, jammed and talked about Marine Band harmonicas. When Joe got overwhelmed with harmonica orders, he offered to teach Richard harmonica repair and building methods. Richard threw himself into harmonica work, developed a reputation for excellence, and got buried in orders for his work. For a period of a few years, he worked intensely with Joe, researching and developing ideas, tools and techniques for upgrading harmonicas. He moved from student to collaborator in creating what is now known as the Filisko Method of upgrading harmonicas. Joe and Richard worked with James Gordon to bring him into the business, and James contributed valuable research that also became part of the Filisko method. Richard has been an instructor at Joe Filisko s teach-ins at the SPAH and Buckeye harmonica conventions, at the Schorndorfer Guitar Festival in Germany, Jon Gindicks Harmonica Jam Camps, on the road teaching and performing with Dennis Gruenling, and in numerous other venues. Richard has also recently done a number of concerts, workshops, and artists residencies in schools based on a concept he calls Songs and Tales of Trains and Rails, combining railroad history with music and harmonica instruction. 11

12 In recent years, Richard has made a living building custom harmonicas, as well as teaching harmonica technology. Along with providing lessons on the instrument, Richard can be found performing on guitar, vocals and, of course, the harmonica! Celebrity Hands See if you can guess who belongs to this hand. Hint: After coming off the bandstand, Mark Hummel was heard exclaiming Your playing gets more f*****g unbelievable every time I hear you! So many harmonicas, tools, gadgets and so little time... Play the notes people want to hear Kinya Pollard The Harpsmith 12