Hi Jerry,

I saw this term the other day, I think someone said that Sugar Blue plays with a lot of compression.  I did a little searching and got the impression that this is referring using pedals and/or amp effects to achieve a lot of distortion.  Is that correct, or are they referring to a playing technique?  I am not necessarily interested in doing this, just wondered what it meant.  Thanks.

Also, one thing you've said in a couple of lessons is that a part of a song will require tongue blocking (as opposed to all of the song?).  I would find it helpful if you could explain why at a certain point this is necessary, and what effect it might have on playing that part of the song.  I do tongue block, but, most of the time, only when I am trying to get a deeper tone, or to tongue slap or for split chords.  Learning about other reasons why I might want to tongue block would be useful.  Please forgive me if you have covered this elsewhere.

Another thing that would help me (and I presume others) would be instruction on gettting a good cup, with and without a mic.  I think I do an okay job of this, but certainly could do it better and be more consistent.  I also have fairly small hands so cupping the harmonica and mic together seems a bit difficult at times.  One thing that has helped me recently is acquiring a vintage Astatic 200 Brown Bullet (very cool!), which is a bit smaller than a JT-30 or Shure Green Bullet.  Even so, I am sure I could benefit from your suggestions.  

Hi Rich,

Compression is something they do in the recording studio to a track after it is initially recorded - usually during the mix. I do know that it is not about acheiving distortion but more about limiting the very high and very low frequencies. However, being that I am the furthest thing from a tech or gear expert, I suggest you google "compression in recording" for a proper explanation.

As far as tongue blocking vs pursing, it's all a matter of ease of playing, phrasing, getting the sounds you want, percussive emphasis etc. Your explanation of when you use tongue blocking is the same as mine. I'll do it if I think a tongue slap is in order, or an octave or a slighly bassier tone to achieve the phrasing, attack, or flow I'm trying to get.

Regarding cupping the harp and mic, you just have to do it in a way that's comfortable for you. I remember reading in a harmonica blog somewhere that it took a year to develop good mic technique. Nonsense, I thought. My mic technique is simply hold on to the damn thing and don't drop it!

Thanks Jerry for those explanations.  I'll check on compression some time (or maybe ask my friend Brian Lee who is doing all of his own album production).  I am not that concerned about it if it has to do with in studio recording.  I was wondering if it was a playing technique I hadn't heard of.  Also, I am glad to hear I am on the right track with regard to using both tongue blocking and lip pursing.  With regard to cupping, I think I am doing ok, I was just wondering if there were some "magic bullet".  What you make say makes sense about achieving a comfortable way of managing the mic and harp.

I had a neat experience over the weekend.  My wife and I went to the Willamette Autoharp Gathering in Salem, OR (we both play a bit).  It was four days of classes, jams and performances by some really top musicians.  After the last performance on Saturday, I got to sit in with all the performers (and anyone else who wanted), and played harmonica. This was intimidating to begin with, especially since a fellow named Bryan Bowers was the headliner.  He is one of the original inductees to the autoharp hall of fame (along with Maybelle Carter and two or three others).  Not only is he incredible on the autoharp, but he plays mandolin and guitar, and sings superbly.  He is also a self-proclaimed tuning maniac but that's another story. Everyone was really nice (or maybe forgiving), and made me feel welcome. In general, they played bluegrass, old timey music, fiddle tunes and celtic type tunes.  Some of it I did okay at in first or second position, other songs I just played chords.  We were in a circle with each person in turn calling a song for the group.  When my turn came I led them in "Last Fair Deal Goin Down" which they all got into.  I don't know how well I played, but at least no one threw anything at me.  After a while, the song morphed into "When the Saints Go Marchin In."

Rich