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From: BluesGeek@aol.com
Date: Wed, 2 Dec 1998 15:50:31 EST
Subject: The Best Marine Bands...  (long)

...I've ever played. Ever.

Here's how.

The process is to use beeswax to seal the wood comb and to replace reed plate
nails with screws and nuts. This very inexpensive and easy procedure renders
an instrument that plays like butter, is completely leak-free, has a comb
which will not swell and shrink, but which feels like a natural pear wood
comb, has ideal compression, even response, surprising timbrel accessibility,
while still retaining, and even enhancing the idiosyncratic Marine Band
performance feel and sound. 

The waxed comb has a soft feel, similar to a wet wood comb. It almost feels
absorbent, although it is completely waterproof. I believe that this mouth
feel, is due to the combination of the softness of the wax, and the fact that
the wax has a tendency to allow the saliva to surface evenly, for a very low-
friction experience. The waxed combs can be played immediately, unlike other
sealing methods which require long cure times. If you mess up with the wax,
you can just redip the comb and quickly fix the comb surface. The wax is non-
toxic. You have a harp that can be conveniently dissasembled. If the wax
deteriorates with age, it can be retreated with little effort.

I have built four of the these harps in different keys and I find them truer
to the Marine Band feel than any harp I have played that is tweaked using
other methods. Three of them are the best harps I've ever had. The fourth was
an old bad harp to begin with.

Cost? Negligable. Time? It takes me one hour and 15 minutes per harp.

Disclaimer: While I am very excited by the results, and especially by the ease
and simplicity of attaining them, YMMV. It is entirely possible to ruin a harp
by accident. If you don't like the result, I might suggest trying again, but
please don't blame me. OTOH, if you like what you get, send me half your money
and your first born child. Either way, please let me know what you think.

For best results use a new harp. Although you may wish to practice this on an
old beater first.

If anyone has any questions or comments, please post to the list so all may
benefit. 

Before we start, I have some hot-rodding questions, myself. Can anyone share a
good method for creating the ideal spring arch in the plates? Also, I
understand that it is possible to create a tension in the covers, such that
when they are screwed on, they squeeze the middle of the plates across the
front edge of the comb. Does anyone have a method for accomplishing that?
Also, I am not by any means an accomplished harp tech, and I would humbly
request the comment of those who know better than I, related to the techniques
and procedures that I am using to build these harps. Thank you. 

I've described in detail all that I have done. In this way, even those who
have never worked on an MB can enjoy this enhancement. Others may find some of
this post a bit tedious, or may wish to vary the procedure. 

- -dave therault

Tools and Materials:

1 lb beeswax
1 small saucepan
utility razor
pen knife
080 X 3/8" or 7/16" screws, with nuts
sandpaper (grades 320, 400, 600)
true flat sanding table (inexpensive suggestion: 1 square foot polished marble
tile)
small screw drivers (and/or nut drivers)
feeler guage 
round toothpicks
popsicle stick or nail file
electric drill or dremel
1/16' drill bit
small fine file
needle nose pliers
punch
4-5 inch long rigid bar, true flat
clean, soft, lint-free cloth (I use my shirt ...clean enough)
1 Marine Band

Procedure:

1. Remove covers, and remove the two forward nails in each cover. Replace
covers.

2. Drill through the empty nail holes and completely through the harp.

3. Remove covers and remove the remaining nails. Replace covers and fasten
with screws and nuts in the two drilled out holes. [A note on screws: Screws
of a wider diameter than 080 are often used to fasten cover plates, for
example in the Special 20. I find 080 to be sufficient for fastening the
plates and the covers. The length of 3/8" is ideal for fastening the plates
alone. Sometimes I am able to also use 3/8" for fastening the covers over the
plates, too. But 3/8" is sometimes too short for the covers and thread won't
bite, in which case I go to a 7/16" length. I try the 3/8" because the 7/16"
shaft sticks out a bit past the nut.]

4. Drill through the two remaining empty nail holes.

5. Remove covers. 

6. Place a fresh piece of 320 grit sandpaper on the sanding table. Sand the
front of the harp, taking material off the front edge of the reed plates,
being careful to apply even pressure, and checking frequently for signs that
the front edge of the comb has begun to contact the sanding surface, and
beginning to remove the finish fron the comb. Always be careful when in any
way apply force against the delicate partitions of the comb to avoid breaking.
(Broken partitions can be reattached with epoxy to give a very strong joint.)
VERY IMPORTANT: Carefully watch not to remove too much brass from the front
edge of the plates, compromising the channel that receives the cover. 

7. Gently sand, in a fashion to create a bevel and soften the now very sharp
edge on each plate. Very little sanding removes a lot material very quickly at
this step, so be very vigilant.

8. Place harp with draw reeds down on a surface which can be drilled into.

9. Drill a hole through the harp at a point between the second and third reeds
at a point measuring from the back of the plate that is even with the nail
that is between the fifth and sixth reeds.

10. Remove nail between fifth and sixth reeds. The method I have used is to
loosen the nail by carefully sliding under the head with the utility razor
blade. Force the blade to the shaft of the nail. This lifts the head a bit,
without levering (and risking breaking) the delicate blade. Slide the pen
knife blade under the head and lever it up a bit. It may lift up comletely and
easily. If not, once you have enough lifted, hinish the removal by pulling
with needle nose pliers.

11. Drill out the empty nail hole between the fifth and sixth reeds.

12. Fasten with a screw in the now empty hole. (This provides a little more
integrity to the placement of the plates while drilling. You may wish to skip
this step.)

13. Repeat steps 10 and 11 for the nail between the eighth and ninth reeds.

14. Remove all remaining nails.

15. Sand front edge of comb on 320 grit paper, in the same manner as in step
6, this time without the plates. The partitions are especially vulnerable to
breaking at this point. Another reason to sand lightly or moderately is to
avoid putting deep sanding marks on the wood. Watch to make sure that you are
holding the comb at a perfect 90 degree angle to the table. Apply even
pressure along the whole length of the harp. Sand until almost all traces of
the factory finish are removed from the front edge, making sure that the
finish is coming off evenly, adjustly pressure to accomplish this. It is very
important to be careful in this regard and in the next sanding steps, to avoid
changing the shape of the comb or making uneven in any way. It is very easy to
mess up in sanding. Flat surfaces, continually fresh sandpaper, good support,
and even pressure are critical.

16. Using a popsicle stick or nail file for backing, use 600 grit paper to
"break" or round the front edges on the sides of the partitions. This gentle
beveling or rounding will make for more comfortable sliding, especially for
the tongue. It is important to use 600 grit paper to avoid making deep
impressions in the wood, which the tongue will find undesirable, and to avoid
taking off too much material. Be sure to support the partitions between thumb
and forefinger while applying the side torque with the sandpaper. Don't want
to snap one off now.

17. Lay the comb on its side on 320 paper. The comb is very flexible in this
position and it is very easy for the pressure applied by a finger to create a
uneven removal of wood, which will surely result in a bad comb/plate seal.
Place a rigid flat bar on the top to avoid this and ensure even pressure
during sanding. You may wish to light rub some carbon paper on the side of the
comb, which will quickly reveal where all the high and low spots are on the
comb, sanding until all the carbon ink is removed. I have not used this
method, instead using the removal of the mill marks in the wood as my guage.
Please note also, that because the comb has more material in the solid area at
the back and less in the area of the partitions, and more material where the
partitions are smaller, it will take some care to keep the sanding even.

18. Repeat step 17 on the other side of the comb.

19. Repeat steps 17 and 18 using the 400 grit paper. Just a few strokes on
fresh paper. 

20. Repeat step 15 (lightly sanding the front edge of the comb) with 400
paper. The goal in this step is to gently remove any remnants of factory
finish from the front edge, and any marks from the 320 grit. As with any
gradient sanding, the idea is to remove as LITTLE wood as possible, just
taking out the marks from the previous grit, as it woud be very easy to create
an unacceptable tolerance between the front edges of the comb and plates.

21. Repeat step 20 with the 600 paper. Gentle, gentle. 

22. Repeat steps 17 and 18 (sanding the sides) with the 600 paper. 

23. Repeat step 20 with no paper, polishing the front edge of the comb on the
smooth marble (make sure the marble is clean so as to not mark the comb with
soil). You should notice the front edge taking on a bit of a shine. This step
is to make the surface very smooth, and crush the open wood cells, which would
create and undesirable drag and sensation on the tongue.

24. Since, some material has been removed, however slight, from the the
thickness of the comb, now is a good time to do a test assembly of the harp.
Assemble the harp with screws and check that the plates are seating properly
by looking through the chambers toward a bright light. If you see light coming
through between plate and comb, it likely means that the rivets on the draw
plate are hitting the comb. (You will usually find that the draw plate is the
problem.) If this is the case, using a punch, lightly tap down the semi-
circle-shaped areas that have been pressed in to accept the rivets from the
draw plate on the underside of the comb. This step is to deepen that
receptical so the plate seats better. I use the flat head punch from the
Farrel Reed Knockout Kit. Be very careful, and go slow, as it is easy to just
chip this area right off the comb. That may not be a disaster, unless you
compromise the general integrity of the comb. It is also possible that the
plates are not seating if the comb is uneven from manufacture, or from
improper sanding, or if you have not removed all the excess wax. Another
possibility is that the combs on used harps may be warped from exposure to
moisture during play.

25. Disassemble the harp and clean comb of dust, using a cloth or air.
 
26. Heat the beeswax on warm-to-low heat. I just put the block of wax into the
pan, and use it to stir the liquid wax as it is melting. I remove the block
after I have about 3/8 to 1/2 inch of wax melted. Do not overheat. Wax will
darken a bit. Enjoy the honey-sweet smell!

27. Firmly, push 3 toothpicks into holes you have drilled in the comb for the
screws.

28. Lower the comb by the toothpicks into the melted wax. Let the comb stay in
the wax for about 30-45 seconds, stirring the comb around in the wax, and not
letting the comb lay against the bottom of the pan, where contact with the
burner could overheat the wood. It is important to have the wax at temperature
that is not so hot as to be damaging to the wood, and not so low as to not
provide for good absorption into the wood. This is something to experiment
with, and I suggest a very low stove temperature. CAUTION: Wax will burn the
skin even at these low temperatures.

29. Lift the comb out of the wax and hold it in a position where the
partitions are facing up, letting the wax drip back into the pan as it dries.
One or more of the toothpicks may have a tendency to fall out, so you'll be
glad you have used three. 

30. After the wood is cooled a bit and the wax is solid and yellow where it
has accumulated, repeat step 28. You may wish to dip it a third time. I have
done so, and find that, air bubbles which come out from the wood as the wax is
penetrating, are, with a third dip, finally minimized, likely signifying a
maximum wax penetration.

31. When wood is cooled again to the point that the larger accumulations of
wax are yellow, begin to remove the excess, using the feeler guage or some
other dull edged metal strip, to scrape the surfaces down flat and smooth. Do
this step will the wax is still warm, and and workable. It's very important to
not leave any high or uneven areas of wax, being sure to also remove wax from
the sides of the partitions. Be meticulous here. You are preparing the joint
between plate and comb. If you have let the hot wax drip with the partitions
facing up, most of the excess wax will be at the bottom of the comb and on the
top edge of the partitions, making the removal fairly easy. I do not remove
the wax from the top edge of the partitions at this point. There shouldn't be
any significant accumulations in the channels between the partitions, so it
shouldn't be necessary to go in there. Use a small tool to remove and excess
from the semi-circle-shaped areas that are milled to accept the rivets from
the draw plate on the underside of the comb.

32. Check plates and use the file to remove any burrs created in drilling. You
may wish to clean up the plates and covers if you are working an old harp.

33. Assemble the harp. 

34. Scrape the excess wax from the front edge of the comb, taking care not to
allow it get in the channels. I use my finger nail for this as I can tell just
how much material I am removing and how smooth the surface is becoming, and to
avoid scratching the surface with a metal tool. 

35. Gently but rapidly polish the front edge with the soft, lint-free cloth.
The heat of light friction softens the thin surface wax and smooths out any
irregularities.

You may wish to roll in the back edge of the covers, a la Joe Filisko. 

I've tested these harps by soaking them overnight in water and there is no
change in the comb.

- -Dave Therault