{"id":1477,"date":"2018-05-20T06:38:04","date_gmt":"2018-05-20T04:38:04","guid":{"rendered":"http:\/\/www.planetharmonica.com\/?page_id=1477"},"modified":"2018-06-25T12:46:52","modified_gmt":"2018-06-25T10:46:52","slug":"brendan-power","status":"publish","type":"page","link":"https:\/\/www.planetharmonica.com\/NextGen\/en\/interview-eng-2\/brendan-power\/","title":{"rendered":"Brendan Power"},"content":{"rendered":"

Interview: Brendan Power’s inventions<\/strong><\/span><\/p>\n

Planet Harmonica:<\/b> Hello Brendan, it\u2019s been a long time since your big spotlight in Planet Harmonica 3 in 2001 (<\/span>www.planetharmonica.com\/VE\/SpotlightBPUK.htm<\/span><\/a>)!<\/span><\/p>\n

In this article, you talked about what could be the future of the harmonica (apart from overblow custom diatonics): the enabler reeds system on one hand and the modification of an airtight chromatic in order to have it play like a diatonic, with the benefit of all the added notes, on the other hand. You did produce at that time the great CX-10 (an half-valved, richter tuned chromatic) and even a prototype of \u201call bending harp\u201d with enabler reeds.<\/span><\/p>\n

You\u2019ve produced extremely innovative inventions since that time. Would please give us your vision of the harmonica as an instrument today and an overview of your recent inventions?<\/span><\/p>\n

Brendan:<\/b> Hi Laurent, good to talk to you again. Interesting to look back over the time since the last article. The main thing I\u2019ve learned is that I know harmonicas well, but have to conclude I am not a good judge of harmonica players! Frankly, I underestimated how conservative their thinking is. Not just the players, but the manufacturers too. <\/span><\/p>\n

\"\"<\/a>I have to reach that conclusion because, in the 17 years since the Planet Harmonica article not a lot has changed in terms of the harmonicas the majority use. Just as in 2001, the vast majority of chromatic players still play fully-valved chromatics in C, and most diatonic players still use un-valved 10 hole diatonics in Richter tuning. I thought there would be more development of new models and directions, but when you consider further it\u2019s not so surprising things still look much the same.<\/span><\/p>\n

These models are deeply entrenched in players\u2019 muscle memory, which creates a strong inertia against change. Harmonica tunings and setups can be likened to familiar software and operating systems on computers. As with the Windows\/Apple OS and software like MS Office, people get accustomed to habitual ways of doing things. They don\u2019t want to switch to anything new – because it causes disruption in their lives, costs money, and takes time to unlearn old ways and learn new ones. Fair enough, it\u2019s human nature: we\u2019re naturally lazy! I\u2019m the same myself when it comes to software – I\u2019d rather stick with what I know.<\/span><\/p>\n

In addition, Solo chromatics and Richter diatonics have deep and strong support structures: the manufacturers, who prefer the simplicity and surety of making tried and tested old formats; plus powerful networks of teachers and instructional material relating to standard harmonica models; as well as many influential recordings and videos by good players who use the stock types. This all means that the main trend in the past 17 years has been players simply strengthening skills and abilities with stock harmonica types and tunings that were invented in the late 19th and early 20th centuries. That\u2019s before the kinds of music we play today on these harmonicas even existed: blues, jazz, pop, rock, country, bluegrass\u2026 It seems odd and a bit disappointing to me that we use such old designs to play 21st century music, but that\u2019s how it is.<\/span><\/p>\n

The main action on diatonic harp since 2001 is the spread of overbending on un-valved Richter harps – lots more players are using it now than then. It has a growing momentum derived from the recordings and Youtube videos of well-known overblow players – plus there is a growing body of instructional material about how to overblow\/overdraw, and set up harps for it. Up till now been the obvious option for 10-hole harp players who want to move beyond basic blues licks into full chromaticism. Though there are one or two alternative chromatically-capable harps available (eg. the Suzuki SUB30, the Turboslide), they require players to abandon their overblow technique and learn a different method of getting the chromatic notes. Plus they are up against that inertia and momentum I mentioned before, because overbending does have a lot of momentum now. It also has star players players who have devoted many years to mastering it. They and their followers have invested so much money, time and effort on the overblowing approach, and learned lots of licks using the technique. Naturally they want to stick with what they know. <\/span><\/p>\n

Given this development you\u2019d think the manufacturers would be doing something to help the overbend scene by developing new harps that enhance the technique – and help themselves make new sales. But unfortunately the harmonica that the overblow stars use has not changed at all: \u00a0it\u2019s basically the same hand-customised Richter Marine Band type as in 2001. That\u2019s a real pity! I believe there is a lot of potential for a more advanced kind of overbend harp that will give players what they are used to, but much more. <\/span><\/p>\n

One obvious one is an overbending un-valved Richter mini-chromatic, with the same size and hole spacing as a standard 10-hole diatonic. If such a harp can be made to play and sound as good as a standard diatonic it will give the players who love this approach a lot of extra functionality – beginners and pros alike. <\/span><\/p>\n

Though I don\u2019t use overbending myself (I prefer half-valved chromatics or x-reed diatonics to play chromatically), I love the challenge of creating new harps that would improve the potential of the overbending technique. I have a design for an overblow mini-chrom in the works, and recently have developed other un-valved diatonics that give enhanced performance for overblow players. <\/span><\/p>\n

\"\"<\/a>The simplest one is my patent-pending Overblow Booster<\/strong>. It takes the principle first used on the Suzuki Overdrive, of using channels in the covers with a hole at the end that can be closed, stopping selected reeds to enhance overblows and overdraws. Instead of dedicated full covers, my version comes in two small parts that can be inserted inside the coverplates of standard harps. Thus the harmonica looks the same from the outside, and plays as normal, with the same sound and bends\/overbends as before. But the Overblow Boosters inside give it far superior overbending performance whenever the player wants it. <\/span><\/p>\n

The deluxe version adds a rear baffle which closes all the holes in the Overblow Boosters with one small movement of the right hand, so it\u2019s easier to use.<\/span><\/p>\n