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HERING SUPER GIG 20
Hering model number 4020, the Super Gig 20, is Hering's bargain
priced diatonic. It looks very much like a Hohner Marine Band,
except the steel covers lack the characteristic slotted ends
of the MB and the comb is made from black ABS rather than wood.
Available only in the key of C, the tuning of the sample I received
for review was very good indeed, tuned in 7-limit Just Intonation
(the traditional diatonic tuning that gives the smoothest possible
chords, but leaves the 5 and 9 draw sounding a little flat)
rooted relative to A=444Hz. The tuning was done with diagonal
strokes of a file, something I feel can have a negative effect
on reed longevity. The reedplates are plain brass, a little
thinner than most diatonics at 0.72mm (0.028") and are
secured to the comb with three Phillips head screws. The reeds
are a medium slot length (shorter than, say, those on a Hohner
Marine Band in C, but longer than those on a MB in Db) and the
reed adjustment on this sample was rather variable, mostly considerably
wider than I would use for all but the more forceful of players.
However, after a bit of careful gapping, it played extremely
well. US retailers are selling this harp for around $5 and I
would definitely call that a bargain.
HERING VINTAGE 40
The Vintage 40 (model number 1040) seems to be Hering's answer
to Hohner's Slide Harp and the Koch Chromatic: a ten hole chromatic
tuned with the same note layout as a standard ten hole diatonic.
It's a striking looking instrument, the covers and mouthpiece
are lacquered brass, very much like their Vintage 1923 diatonic.
The comb is made from wood, which is sealed both inside and
out to reduce moisture problems. The exterior finish of the
wood is very attractive, highlighting the wood's natural reddish
colour. The instrument is nicely finished and presents no rough
edges or sharp corners to the player's hands. The slide assembly
is the traditional three piece set of U-channel, slide and backing
plate and I am sorry to report that this particular one jammed
the first time I pushed it. Thankfully, it was very simple to
fix, merely requiring proper alignment of the parts, which had
probably got knocked around in shipping. After fixing it, the
slide action was very nice. The instrument is straight tuned,
so the slider has push of about 5mm (about the same as a Hohner
270) and is both fast and quiet. The mouthpiece is slightly
deeper than those used on the Hohner 10- and 12-hole chromatics
and has round holes with nicely finished edges, making it very
comfortable in the mouth. The reedplates are plain brass, a
little thicker than usual at 1.25mm (0.049"), attached
with three screws along the rear and two smaller screws towards
the mouthpiece. The Vintage 40 is available in no less than
eight keys - D, E, F G, A, Bb, B and C (the Slide Harp and the
Koch are only available in the keys of C and G). The sample
I was sent is in the key of C and has quite short reeds, all
of them valved with the typical Hering two-piece windsavers.
Tuning is very good, Equal Temperament based around A=442HZ.
Again, I am sorry to report that this was done by filing which
has left quite a few diagonal scars on the reeds. The adjustment
of the reeds is very even and combined with the overall airtightness
of the construction, this makes for a very responsive instrument
indeed. It comes in a form-fitted plastic case.
If I am correct in assuming that Hering were intending to market
this instrument to the blues players, then there are a couple
of things I don't fully understand. First of all, the choice
of Equal Temperament seems a little odd, when Just Intonation
or a compromise temperament would have made for smoother chording.
More importantly, the presence of a valve for every reed means
that typical blues harp-style bending is impossible and without
bends, this instrument is only chromatic in the middle octave
(because of the tuning, you need bends to fill in the gaps in
both the lowest and the highest octaves). Of course, as the
Vintage 40 is assembled with screws rather than nails, it is
a very easy matter to remove some of the valves to permit blues-style
(dual reed) bending for the lower draw notes and the upper blow
notes, leaving valves in place to permit valved bends for the
lower blow notes and the upper draw notes (this is how the Hohner
Slide Harp is set up). I've tried this with the review sample,
but even after careful reed adjustment, there is still a noticeable
difference in response between the valved and unvalved notes.
How much of a problem this is will depend on the player's personal
preferences. Those of you who like the Slide Harp and Koch Chromatic
and with there were available in more keys should definitely
check out the Vintage 40. Those of you who are dreaming of a
chromatic that plays just like a great diatonic may just have
to continue dreaming.
HERING PROFESSIONAL 40
This instrument, model number 5140, is basically a solo tuned
version of the Vintage 40, being tuned like a standard 12-hole
chromatic, but without the top two holes, giving it a range
of two and a half octaves. The covers on this one are chrome
plated brass, as is the mouthpiece. The wooden comb is sealed
and has a black finish on the outside. The round holed mouthpiece
is very comfortable to play and the smoothly finished comb and
covers feel nice in the hands. The reedplates are similar to
those on the Vintage 40, except on my review sample in the key
of C the reeds are a medium slot length. Reed adjustment is
nice and consistent and the tuning is very good, Equal Temperament
at about A=442Hz. All reeds are valved and the harmonica responds
very evenly with a nice tone. Like the Vintage 40, it comes
in a form fitted plastic box and is available in the keys of
D, E, F G, A, Bb, B and C. Its compact size would make it an
ideal instrument to carry around in your pocket, ready for unplanned
practice opportunities.
Pat Missin
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