Quote

---

good comment, thanks

---

With that said, the plastic Hohner CX-12 sounds very different than the standard #270s because of major design differences. I don't play the CX-12s, but I think they are a great innovation and harmonica.

Good luck,
Dave Gage

http://www.harmonicalessons.com
Listen to CD Song Samples-
http://www.davegage.com/sound.html

Quote

---

Thanks for the response. I played once on a Bandmaster 4 octive and the mouthpiece was slightly bent leaving a gap at either end of the range. It leaked like a sieve making it difficult to get volume and effects. I'm starting to see more CX-12's around in bands. Is that the one with the teflon slide? Thanks for the tip.

---

To be honest, I highly recommend the CX-12's, have played a number of them (stock and modified), and know many pros that play them, but I don't own one. My favorites are still the Hohner #260 10-hole chromatics for their size, price, and great volume. I find them more "ballsy" and better suited for rock and blues. The physically shorter 4 part mouth piece section has less surface area and thus tends to leak less air and play louder.

But I digress, the Teflon thing sounds right, but you might want to check the Hohner site to be sure.

Good luck,
Dave Gage

http://www.harmonicalessons.com
Listen to CD Song Samples-
http://www.davegage.com/sound.html

Quote

---

A couple of questions for Dave and the group on chromatics. Do you use the same rig when you play chromatic blues than when you play diatonic? The 260 hohner is great to cup with almost any microphone but how do you overcome the problem of the missing two upper holes on the 260 chromatic? I find the CX12 very difficult to cup with a bullet. Any tips on this?

---

Whether I play the 10 or 12 hole chromatics, I have no interest or need for the 2 highest holes of a #270. They are just too damn high. Remember, hole 1 blow is middle "C".

I don't use the CX12's and haven't used a bullet mic for at least 15-20 years, so I'm probably not the best one to answer your last question. I do have a buddy Bill Barrett (http://billbarrett.net/) that would know, I'll try to get him to drop by and put in his $.02 worth.

Good luck,
Dave Gage

http://www.harmonicalessons.com
Listen to CD Song Samples-
http://www.davegage.com/sound.html
=======================================================

My setups for live playing and studio recording
are not very typical for harmonica players, but I'll be glad to let you know what I use.

LIVE- Amp is a Peavey Stereo Chorus (2-12" speakers, 130 watts, built-in digital reverbs). Since I've always played with loud rock bands, I use a mic and amp combination that sounds full and relatively clean so that the audience can hear all the notes in fast runs, but also is loud enough to compete with the guitars and drums. For tone and feedback resistance, the mics I use on stage are high impedance ball mics with limited frequency response that helps control the feedback. Years ago, I bought a couple of ASI/Quantum DM-500 Dynamic mics that I haven't been able to replace as they wear out (I think the company is out of business). I've recently found a replace mic for the Quantums that I don't like as much, but it works ok. It is also a dynamic ball type mic and is the Audio-Technica MB1000L.

STUDIO- I use a Barcus-Berry harmonica pickup that I then run through an Alesis QuadraVerb GT that then goes directly into the recording console (I monitor with headphones). The solo on Limbo Rock on my site
(http://www.davegage.com/sound.html) is an example of this sound. My studio setup sounds as good to me as any mic/amp combination I have heard or used for recording, and I have tried many different setups over the years. I would use this setup for live playing but the pickup I use sticks to the harmonica with a 'velcro type' connector and when I play live I have to switch between 2 or 3 harmonicas on certain songs I do with my band. So the pickup solution is not practical for me live, but if I only used one harmonica per song I would consider it.