EASY REEDING

SUMMER 2012

HOHNER’S MAGAZINE FOR THE HARMONICA ENTHUSIAST

Harmonicas in Central Park CATCHING A BREATH WITH

with harmonica virtuoso HEIDI NEWFIELD
Jia-Yi He and
FEATURED ARTIST
NYC Mayor MARKO BALLAND
Bloomberg IN THE STUDIO WITH
JELLY ROLL JOHNSON
 HOHNER News
NEWS
Matth. HOHNER AG Announces Leadership Change
The Supervisory Directors of Shanghai, Lansheng HOHNER
Board of Matth. Musical Instruments Co. Ltd. and Manag-
HOHNER AG ing Director of HOHNER Musikinstrumente
has appointed GmbH & Co Kg. For the past 6 years, Mr.
Clayman Edwards Edwards has been President of HOHNER
as a member Inc., the company’s US subsidiary located
of the Manage- in Glen Allen, Virginia. A native of Newport
ment Board. Mr. News, Virginia, Mr. Edwards earned a BS
Edwards will also in Finance and an MS in Accounting from
Clayman Bruce Edwards serve as Chair- the University of Virginia and has an MBA
man of the Su- from the College of William & Mary. He is
pervisory Board of HOHNER SA in Semur, 47 years old.
France, Vice Chairman of the Board of
Contents FEATURED ARTIST
Marko Balland
HOHNER News 2
Tech Notes 4
Our CD Pick 4
In The Studio 4
with Jelly Roll Johnson
SouthBound 5
By Adam Gussow
Catching a Breath 6
with Heidi Newfield
Hohner on Tour 7
Harmonica Mass Appeal 8
in Central Park
By Jamie Emmerman

HOHNER Service Center 10

HOHNER, Inc. Names New Harmonica Product Manager The HOHNER Service Promise 11
Ryan Wear has Import Products, and Proprietary Lines for
joined HOHNER Conn-Selmer. Ryan is a drummer and re- Meet the HOHNER Service 11
Inc. as Harmonica ceived a minor in music while at Missouri Center Team
Product Manager. Western State University along with his BS
Ryan comes to in Business and Marketing. He was also FlexRack 12
An exciting, innovative approach
HOHNER from a member of the Colts Drum and Bugle to the hamonica rack
Indiana where he corp. He was an active percussion clinician
was the Product as well as a member of the Kansas City
Manager for Stu- Chiefs Drum-line in 2010 and 2011.
Ryan Wear dent Instruments,

New HOHNER Website Launching This Summer

tion to a new look and feel, the sites will
offer many features including video work-
shops and tutorials for harmonica service,
a section dedicated entirely to harmonica
customizers, artist videos, HOHNER news

from around the world, interactive galleries
and much more.
We are also uniting our social media
efforts globally to help us stay in closer
contact with our customers and to keep
The global network of HOHNER websites
them more informed.
are getting completely overhauled and are
set to be launched this summer. In addi-
2 | EASY REEDING
F
facebook.com/HohnerMusic rench harmonica phenom Marko Balland first picked up the
instrument at age seventeen, when he heard the legendary
Big Walter Horton. Soon after, the fledgling harpist found him-
youtube.com/HohnerUSA
self sharing Parisian stages with blues icons Luther Allison and
Rosa King. Inspired by the music of Jimi Hendrix, Marko began
to explore a new path. “I became an instant fan and decided to
twitter.com/PlayHohner
duplicate his music on the harmonica“, recalls Balland.
In 2001, Marko released “Adonf‘experience“, a tribute to Hen-
gplus.to/PlayHohner
drix. Bolstered by the CD’s warm critical reception, Marko’s style
shifted further away from traditional blues music. “That‘s when I
decided to play hard rock and metal rock”, says Balland.
With his hard rock harp style firmly in place, Marko released
“Mille et Un Réveils“ in 2008 and “Dentelles Hurlantes“ in 2011.
Making extensive use of electronic effects, Marko’s innovative
and fiery solos break new ground while maintaining a link to
classic blues and rock traditions.
Marko Balland will perform at the 2012 SPAH convention in
Irving, TX.
https://www.facebook.com/pages/Marko-Balland/191515470318
3
 Tech Notes that this may happen, please proceed
carefully.
In The Studio
with Jelly Roll Johnson
SouthBound
By Adam Gussow
harp, but here I roughed up Braun’s smooth
jazz melody, hammering the bent 34 draw
Mississippi” is an original composition in a
rockabilly vein. I tracked vocals, foot (we ac-
When your instrument has been played double-stop to give it a raw blues feel. As the tually miked my foot stomping on the ground
By Joe Filisko often and you begin to notice little sta-
lagmites and stalactites growing inside A fter the success of my debut CD, Kick
and Stomp (2010), which featured four-
percussionist, I’m also banging my kickdrum
and tambourine pedal.
as a click-track), and harp, with the harp am-
plified through an early 50’s Masco MU-5, a

Q uite fre-
quently the
question arises
about cleaning
and/or sanitizing
the harmonica.
My advise has
always been to
not clean your
harmonica with anything that you would
not want in your mouth. A rag moistened
with hot water is a good start to remove
visual dirt on the cover plates and comb. If
sterilizing is a priority for you, please try a
rag moistened with Listerine or your favor-
ite mouthwash, and give your instrument a
nice wipe down. I have never encountered
an issue with mouthwash harming any
cover plate or comb finish. If you suspect
Our CD Pick
the holes, I suggest that you wait until the
instrument is good and dry before pro-
ceeding with a brush for scrubbing down
vegetables. Hold your instrument with the
holes facing downwards and the bristles
of the brush facing upwards. Gently work
that brush against the mouthpiece and
holes. You should notice the debris field
on the table in front of you. After working
this for a moment, firmly tap the harmon-
ica, holes still facing downwards, against
the palm of your hand to further remove
and loose debris. This may be a good time
to give it a good wipe down with the rag
again.
Joe Filisko - June 2012
O ne of
my
most memo-
rable record-
ing sessions
was with
the great
Etta James
for “The
Right Time“ album. The session took
place in Muscle Shoals, Alabama at
Muscle Shoals Sound Studio. This was
a tracking session where the artist
and all of the musicians are record-
ing at the same time. The musicians
included Steve Cropper on guitar,
Lucky Peterson on keyboard, Steve
Ferrone on drums and Willie Weeks
on bass. Producing the session was
the legendary Jerry Wexler, who also
produced Ray Charles.
The first song was “I Sing the Blues.“
Jerry worked up the arrangement,
teen tracks of harmonica-powered one-man
band music—studio-live, no overdubs—I
decided to take the next step. I laid down
I really like the new Crossover model, by the
way. It’s brighter than the stock Marine Band
tiny tube amp. Then we took out the foot and
added early Elvis style guitar—my producer’s
playing, not mine—and a thrashing cock-
nine of the eleven tracks on Southbound
exactly the same way, kicking and stomp-
ing (and harping and singing) by myself,
tail drumset, along with some doghouse
bass. “C. C. Rider,” recorded on the night
of the full moon, has the wild, careening
then went back and sweetened every energy of a bucking bronco. I’m amazed
track. that the Joe Spiers Marine Band held up
I used three different bass players, includ- under my onslaught.
ing soul-disco legend Jerry Jemmott. (His The final cut, an instrumental version of
big, warm sound dances through my the early 60s lounge hit, “Alley Cat,” dials
version of trumpeter Hugh Masakela’s the energy way back. Here I’m using a
“Grazin’ in the Grass.”) I played rhythm high G, also a Marine Band customized by
guitar on six songs. Many folks don’t Joe. I do the descending melody off the 6
know this, but I attended Berkelee’s sum- blow, which means I’m sliding down into
mer jazz guitar program as a teenager the 5 and 4 overblows—a ball-busting
and some of that stuff, including a handful little run. And then I’m holding the 5
of thirteenth chords and stacked fourths, overblow as a long vibratoed note. On
found its way onto this album. “South- a high G harp! I did it as a challenge to
bound,” a remake of the Allman Brothers’s some traditionalist players who complain
tune, features some twangy fills in the style that overblows are out of tune and sound
of Dickey Betts. “tinny.” Not on this cut!
As an album, Southbound is evenly divided So that’s the album. It’s variations on the
between blues tunes and jazzier, funkier harmonica-powered one-man band sound-
repertoire. I cover Jimmy Reed’s “You -enlarged into duos, trios, a full band. It’s

A “
dam Gussow’s “Southbound” is a of his previous CD, “Kick and Stomp”, Don’t Have to Go” as a stomp-down shuf- got a bluesy Deep South flavor, in part
and he decided I should do the solo fle and follow it with the “Sanford and Son ...the Crossover made it because all the musicians (including me) live
revelatory exploration of his diverse Gussow augments his percussion, in the middle. He wanted the ending
influences. Incorporating blues, jazz, and vocal, and harmonica performances Theme,” backed by Bill Perry, Jr.’s percolating easy for me to zip up and in Mississippi, but you gotta remember: I
to be a slow fade. Etta‘s vocalizing at keyboards. On that last track I juggle two was a New York guy until I moved down to
even lounge music, Gussow manages to by overdubbing his own guitar work. the end of the song was spontane- down, top to bottom, with-
craft a cohesive, personal, There are also inspired harps—I start off the familiar melody with a Dixie ten years ago. Jazz and funk, the whole
ous, as was my answering her on the Joe Spiers Stage One Marine Band, key of C, out missing a note.” contemporary urban thing, have always been
and inspired statement performances from harmonica. This was one of those
from wildly disparate various guest musicians, then switch to a Crossover in F and warble a part of my sound. This album was a way of
sessions where I had to pinch myself hard on the 45 draw. I switch harps back and putting the different pieces together and say-
sources. “Southbound” including legendary to make sure I was not dreaming. and—to use a sportscar analogy—much
features compositions bassist Jerry Jemmott. forth. It took me a while to figure out that ing “Here you go. This is who I am and where
Equipment used: I played a HOHNER little trick! It’s an ingenious tune, the way it quicker in the turns. On the title cut, where my heart is.”
by blues icons (Jimmy SOUTHBOUND is I’m playing an F harp, the Crossover made it
Marine Band, Key of A. I played modulates: a perfect two-harp showcase. Adam Gussow is an associate professor of
Reed and Freddie King), available from iTunes easy for me to zip up and down, top to bot-
through a Shure PE50SP mic and Two tracks on Southbound are drawn from English and Southern Studies at the University
contemporary jazz and Amazon mp3s. It‘s tom, without missing a note. But I love the
Fender Super Reverb amp. the world of contemporary “smooth” jazz: of Mississippi as well as a professional blues
stalwarts (Chris Botti and also available direct from stock Marine Bands, too. I use a stock E harp
Rick Braun), and original Gussow, as a download “Why Not” and “Green Tomatoes,” by trum- on Freddie King’s “I’m Tore Down,” a Texas harmonica player and teacher. Since 1986 he
material authored by with liner notes (mp3s or http://www.jellyrolljohnson.com/ peters Chris Botti and Rick Braun. “Why Not” shuffle that’s been getting a lot of airplay on has performed with Harlem bluesman Sterling
Gussow, among others. WAVs) or a CD, at has a haunting Dorian-mode melody that os- Bluesville. On the solo I took my cue from “Mr. Satan” Magee as the duo Satan and
The CD’s title cut is an adaptation of the cillates between the sixth below and the flat Albert Collins; I tried for his angular, slashing Adam. The webmaster of ModernBluesHar-
http://www.modernbluesharmonica.com/ monica.com and the founder of Hill Country
Allman Brothers’ classic, on which Gussow third above—the so-called “devil’s interval” attack. Why shouldn’t blues harmonica play-
southbound_1.html
masterfully reinterprets Dickey Betts’ guitar of a diminished fifth. It works perfectly on a ers be inspired by blues guitarists—and jazz Harmonica, an annual teaching intensive in
work on harmonica. Read Adam’s article “SouthBound” on the Bb Marine Band in third position, especially north Mississippi, Gussow is also the author
next page. trumpet players, and r&b sax players? We
Departing from the strictly solo format with Jerry Jemmott’s phase-shifted bass need to stretch out and take risks. of three books, including Mister Satan’s Ap-
bubbling down below. “Green Tomatoes” prentice: A Blues Memoir (1998).
is played in second position, also on a Bb The album ends with a trio of tunes from
three different stylistic directions. “Home to
4 | EASY REEDING 5
 Catching a Breath with and I’d try to break those down. In high While the harmonica has always held a Hohner on Tour
Heidi Newfield school my friends were into fluffy music, prominent role in her dynamic live shows,
like Depeche Mode. And I’d want to hear a Heidi’s upcoming CD features her har-
John Mayall record.” monica playing more than her previous

“
studio outings. “The next
As one of the very few
prominent female har-
Harmonica record will be more ag-
gressive, more raw, and
8/10/2012 The Tralf Buffalo, NY

is just a really
8/11/2012 Downtown Oakville Jazz Oakville ON CANADA
monica players, Newfield rocking. But we won’t be Festival

important part
has been thrust into the afraid to be too country. 10/20/2012 Tusten Theatre Narrowsburg, NY
position of role model for And there will be harp all 11/11/2012 Grand Opera House Wilmington, DE
aspiring female musicians.
“A 13 year old girl who
of me. I think over it. Harmonica is just
a really important part of
11/17/2012 One Longfellow Square Portland, ME

harmonica is a
1/11/2013 River Park Church Calgary ALB CANADA
sees me playing, and says me. I think harmonica is

2
1/12/2013 Braeside Community Ctr Calgary ALB CANADA
012 has been a busy year for Nash-
perfect fit for
‘that’s pretty cool, I’ll think a perfect fit for country.
ville hit maker Heidi Newfield. With a 4/5/2013 Monmouth University Ctr of W. Long Branch, NJ
I’ll try that. I want to learn And it goes back to the Distinction for The Arts
new single and music video already out
(“Why’d You Have To Be So Good”) and
the harmonica…’ Well,
that makes me feel great.
country.” mountain music, even
before the Civil War.”
4/27/2013 Landmark on Main St Port Washington, NY

a new CD and tour to follow, she’s barely That’s a pretty cool place 8/10/2012 State Fair West Allis, WI
had a moment to catch her breath. “It to be.” Please visit HeidiNewfield.com for more 8/11/2012 DTE Energy Music Detroit, MI
takes drive, an immense amount of hard After years of relying on the HOHNER information. Theater
work, sacrifice, and patience. I‘m a firm Special 20, Heidi is a recent convert to the 8/12/2012 The Lawn a t White Indianapolis, In
believer in people paying their dues...not Marine Band Crossover model. “I usu- River
just expecting to walk out there and have ally play Special 20“s...but, recently....my 8/14/2012 Jones Beach Wantagh, NY
it handed to you. People that work for it.... wonderful rep Scott Emmerman turned me Amphitheatre
appreciate it more. They respect the team on to a newer harp called The Crossover... 8/15/2012 Penn’s Landing Philadelphia, PA
players that are helping them get there.... and I LOVE IT! It‘s got a little louder, ballsy, 8/17/2012 Sands Bethlehem Bethlehem, PA
and they hone their craft. It takes tenacity! sound…and they are just as easy to play 8/18/2012 Bank of America Boston, MA
OH....and if you are going to sing...learn and bend notes as the Special 20!” Pavilion
about the history of those who paved the 8/19/2012 Bangor Waterfront Bangor, ME
way for you! Do your homework. And 8/22/2012 Flying Monkey Plymouth, NH
always.....always have fun!” Performing Arts Center
8/23/2012 Paramount Ctr for the Peekskill, NY
Since first taking up the instrument at Arts
age six, Heidi has been drawn not only to 8/24/2012 Klein Mem. Auditorium Bridgeport, CT
country music, but other genres as well, 9/12/2012 Utah State Fair Grounds Salt Lake City, UT
8/11/2012 Smukfest Bluesenstage Skanderborg,
particularly blues. “In country the 9/14/2012 Spokane Interstate Spokane, WA Denmark
#1 guy was Charlie McCoy, Fair
8/15/2012 Tavastia Helsinki, Finland
whose sound I love, but 9/21/2012 Uptown Theatre Napa, CA
8/16/2012 Klubi Tampere, Finland
I found myself drawn 9/29/2012 Crossroads Kansas City, MO
8/17/2012 Swing Wespelaar Festival Wespelaar, Belgium
to the blues. At nine 10/28/2012 Ponte Vedra Concert Ponte Vedra Beach,
8/24/2012 Riverfront Park Nashville, TN
or ten I was buying Hall FL
8/25/2012 Minnesota State Fair Minneapolis, MN
records by Sonny 11/5/2012 Epcot Theme Park Orlando, FL
Boy Williamson,
new single Why‘d you have to 11/6/2012 Epcot Theme Park Orlando, FL
8/26/2012 Minnesota State Fair Minneapolis, MN
8/31/2012 SPACE Evanston, IL
Little Walter, be so good available on iTunes 9/01/2012 Hot Springs Blues Festival Hot Springs, AR
James Cotton,
9/08/2012 Prairie Knights Casino & Fort Yates, ND
Resort Pavilion
9/16/2012 California Beer Festival - Ventura, CA
Mission Park
9/23/2012 Alpine Village Events Ctr Torrance, CA
10/06/2012 The Resort at Marina Cape Coral, FL
Village
10/26/2012 River Spirit Casino Tulsa, OK

6 | EASY REEDING 7
Images by Ash Newell at Ash Newell Photography

Harmonica Mass Appeal in Central Park
By Jamie Emmerman
A s summer twilight fell upon Central
Park’s Dairy Lawn on June 21st, the
melodic sound of HOHNER harmonicas
filled the air as Make Music New York’s
(MMNY) Mass Appeal event
took place. As a sponsor,
HOHNER donated free
harmonicas to the
first 100 participants
of the session. The
air began to cool as
internationally re-
nowned harmonica
virtuoso Jia-Yi He led
the audience, which in-
cluded NYC Mayor Michael
Bloomberg, through beginner
ballads such as “Twinkle, Twinkle Little
Star“ and “When the Saints Go Marching
8 | EASY REEDING
In.“ After just 40 minutes, He brought each
member of his makeshift band—experts
and beginners alike—into harmony. “I’ve
always wanted to play the harmonica,” said
journalist Gregg Levine who attended other
festival events that day and decided
to drop in. “Listening to the riff
on [Bob Dylan‘s lyric] ‘Ev-
erybody must get stoned’
when I was a kid, the har-
monica is a part of rock
‘n’ roll that I just always
wanted to try but never
pursued.”
As one of the lucky hun-
dred recipients of a free harp,
Levine was not only playing
Dylan’s instrument of choice, but he was
playing a HOHNER, Dylan’s brand of choice.
That inspiration wasn’t the only echo of
history present, however. Eugene Bass, a
retired sales manager and experienced har-
monica player for 77 years, was turned on
to HOHNER harmonicas in unique circum-
stances. “In World War Two, [soldiers] trad-
ed with the German populace for certain
things: cigarettes and so forth… I would
trade for harmonicas,” said Bass. “I came
home with three HOHNER 64s, the big
models with a German name plate on it.”
Today, Bass still has his original HOHNER
64s after sending them to the HOHNER Inc.
office in Glen Allen, VA, to be refurbished.
Bass is a former student of He’s at the
Turtle Bay Music School in Manhattan, and
attended the event in support for his long-
term teacher.
Jia-Yi He has received numerous awards
at international festivals and competitions
in England, Germany, Israel, Japan and the
United States. He has appeared as a soloist The festival, in-
with the China National Symphony Orches- spired by the Fête
tra, China National Ballet Symphonic Or- de la Musique in
chestra and the Nassau Pops Symphony Or- France, began in
chestra, and has recorded harmonica music New York City in
for a number of movies, radio stations and 2007. Now with
CDs. He has worked as a harmonica instruc- over 460 similar
tor at Turtle Bay for ten years, and has led events in cities
the MMNY’s Mass Appeal harmonica ses- around the world,
sion for the last four. He’s passion for the the premise is an
instrument is what drives him; in the end, all-day festival of
his goal is to spread the joy the harmonica free concerts and
brings to him. “This event stood out be- musical activities
cause everyone could play,” said He while on the first day of
holding a donated HOHNER harmonica. summer. From 10 in
“Since HOHNER was able to donate their the morning to 10 at night, anything from
harmonicas, experienced and beginner hip-hop to opera, or jazz to punk rock can
players were all able to play together— be found on the streets, sidewalks, stoops
even the mayor!” Bloomberg, who admit- and parks of the five boroughs of New York
ted to having only some harmonica experi- City.
ence, caught up quickly and played along
with the crowd under He’s guidance. This
kind of public interaction is the purpose
behind the Mass Appeal event, and there
is no better vehicle for exposing people to
“ Since HOHNER was able
to donate their harmonicas,
experienced and beginner
music than the harmonica. players were all able to play
“The harmonica is a funny instrument be- together—even the mayor!”
cause there are a lot of people who don’t
necessarily identify themselves as players, –Jia-Yi He
but still play. It’s just a much more casual
instrument,” said Aaron Friedman, Presi- “I’m really excited whenever people come
dent of Make Music New York. “Some of
the events today, which are all supposed to
be open to everyone, are very challenging
to make music together,” said Friedman.
“Nobody is here to become rich and fa-
mous, they’re just here to meet other peo-
and more difficult to jump into. That’s why ple and express themselves creatively.”
I think the harmonica Mass Appeal event
is so successful, because it’s truly open to Visit www.youtube.com/hohnerusa to watch
everyone.” the video of this event.
Photos by Jamie Emmerman
9
 HOHNER Service Center
CENTER
N otes not playing? We can fix that.
Need a part? We can get it for you.
Technical advice? Just ask. Regardless of
the need, the HOHNER Service Center is
available -- five days a week, year round
-- to help you find a solution.
In the past several years we have en-
hanced our service offerings, expanded
our staff and increased our productivity.
Our goal is to be a contributing partner in
every harmonica player’s musical life. The
Service Team is comprised of performing
musicians and harmonica players with
over 150 years of playing and teaching
experience combined. They know what
it is like to need a reliable instrument
and support system. For the Service
Team a partnership is not enough; every
harmonica player is considered part of
our extended family.
Services we offer include a 60 day
warranty on newly purchased instru-
ments, one year adjustment on newly
purchased chromatics, and recondition-
ing or replacement of older harmonicas.
Custom options, including special tunings
are also available. Free return shipping is
standard, with second and next day op-
tions. Service time on common repairs is
two days at most. To track your service,
simply provide an email address.
For do-it-yourself enthusiasts, the Service
Center also maintains a comprehensive
inventory of harmonica parts, from reeds,
cover plates and slides to the smallest
screws and nuts.
Your first contact with the HOHNER
Service Center will be a Customer
Representative, the busiest person in the
10 | EASY REEDING
harmonica industry. They spend the day
answering your phone calls and emails,
opening packages, taking parts orders,
and providing Reed Technicians with
information necessary to work your har-
monicas, whether it is warranty, replace-
ment or reconditioning. If you call and
they are already on the phone, they will
call you back the same day.
The Reed Technicians are experts in the
harmonica field. They customize and
recondition harmonicas, prepare instru-
ments for artists, provide advanced tech-
“
Every harmonica player
is considered part of
our extended family.”
nical advice, and consult on research and
development projects. They are inven-
tors and tinkerers, often spending time
building and testing their own harmonica
designs. They put all their knowledge to
work on your instrument.
At the end of the line the shipping agent
is busy getting your parts order together
and preparing your harmonica for the
return trip.
We are invested in our relationship with
you. We want to be a companion on your
musical journey. The HOHNER Service
Team pledges to receive, service and re-
turn your instrument in 48 hours or less.
We will repair your harmonica to your
satisfaction the first time and every time.
While your harmonica is in our care, we
will let you know how it is going.
The HOHNER Service
Promise
1. WE PROMISE to Receive, Service, and Return your instrument in 48 hours or less on common repairs and adjusting.The
48 hours starts when we receive the product in the mail and ends when we ship it from our doors through mail service
2. WE PROMISE to get the repair right the first time, every time
3. WE PROMISE to email you upon receipt of the instrument to inform you that we have started work. We then will email
you upon completion of work to inform you that your harmonica is finished and is being mailed to you.
4. WE PROMISE to treat every customer with courtesy and respect. Those who play a HOHNER Harmonica are considered
to be a part of our family.
eld 5. WE PROMISE to include a Service Guarantee card with every repair.
Tim Schofi
1. This card represents our guarantee
2. Picture of Technician who performed work
3. Bio information on the technician who did the work
4. Handwritten message to customer about work done
To learn more about HOHNER Service,
please visit www.hohnerusa.com. All the
service options and return instructions
are listed along with the most common
technical advice topics.
Meet the HOHNER Service
Center Team
CENTER TEAM Adam Ha
mil
The HOHNER Service Team is just an email or phone call away. Feel free to
contact us Monday–Friday, 8am-4:30pm EST by calling 800-446-6010 or
Paul Lusk
Evelin San
chez emailing harmonica@hohnerusa.com. You may also contact any of us directly at
the emails listed below.
Bill Bucco Adam Hamil
Reed Instrument Service Manager Free Reed Instrument Technician
bbucco@hohnerusa.com ahamil@hohnerusa.com
Tim Schofield Paul Lusk
Free Reed Service Supervisor Free Reed Instrument Technician
tschofield@hohnerusa.com plusk@hohnerusa.com
Bill Bucco
Evelin Sanchez
Reed Instrument Customer Service
esanchez@hohnerusa.com
11
 new An exciting,
FlexRack
An exciting, innovative ap-
innovative
proach to the harmonica rack
approach to
the harmonica
rack.
Optimizing playing angles and positions
adjustment, the FlexRack is a perfect
fit for any acoustic player!

Includes three separate areas of

adjustment:
• Position of harp
• Angle of harp for ideal individual
playing position
• Height of harp
• Adjustable spring clamp that easily
fits any standard 10 hole diatonic
harp
• Rubberized surface to eliminate
scratching of coverplates while
providing a simple and easy
transition
• Ergonomically designed neck rest

FlexRack
provides the perfect combination for
stability and comfort

The New Standard For Harp Rack Adjustability

MSRP: $89.00 • MAP: $59.99

Position

Angle Height

12 | EASY REEDING