From: Winslow Yerxa <76450.32~OMPUSERVE.COM> Date: 20 Mar 96 01:50:21 EST Subject: Chromettas (the undead)
TO: internet:harp~arply.com
Nate Clark asks about some his experience with the Chrometta. I'd have to say it's mostly the harp. A few specific observations:
You won;t get overblows on a fully-valved instrument. Overblows come from the draw reed, and the valves prevent the draw reed from sounding when air is blown into the hole.
Leakiness seems endemic to chromatics - hence the need for valves. I'm not sure if it's mainly the mouthpiece-slide assembly, or something to do with other factors as well - Doug? The fixed one-piece non-adjustable mouthpiece on the chrometta adds to the problem.
As for a better chromatic for blues and jazz, a good 3-octave model like a Hohner 270 or a Hering would be a good next step (you may not want to spring for the more expensive Toots or CX-12 models). For the gritty 3rd position (D chord on a C chromatic) Chicago-style blues chromatic, a 4-octave instrument is a better choice becuase of the extra low octave, used extensively in that style. But that extra range can also make it hard to get your bearings for the more melodic single-note jazz styles. Which are you more likley to concentrate on at first? If you're in love with Chi-town blues chromatic, get a 4-octave ax like a 64, super 64 or Super 64x. If that's not so important to you, you might find the 270 more welcoming, more intimate, and more affordable.
