In an increasingly high-tech world, the harmonica seems relatively untouched by technology. Certainly, the humble Marine Band is pretty much the same now as it was when it was introduced more than a century ago. However, as we already have electric guitars, drum machines, electronic keyboards, wind-controlled synthesisers, etc., it is not surprising that there have been many attempts at producing an electronic harmonica. What is surprising, is that few of the attempts so far have resulted in an instrument that has been a commercial success. The most well-known electronic harmonica-type instrument is the Millioniser. Invented by Walter Miller, this device has been used by a few players such as Eddie Gordon and Dutch jazz maestro Wim Dijkgraaf. The inventor has always been quick to point out that the Millioniser is NOT a harmonica - it is a device that allows a harmonica player to use their existing technique to control a synthesiser. Rather than having a series of holes into which the player blows, there is a mouthpiece with a single hole in it. This mouthpiece slides back and forth along the front of the device and its position determines which notes you get when you blow and draw. The note layout can be changed to suit the player's preference and there are a set of buttons covering not only the usual semitone raise in pitch, but also various other degrees of pitch shifting, both up and down and a variety of tonal changes. Recent improvements and a dramatic reduction in price may help to make it more popular. You can read more about the Millioniser here and here.
I was surprised to find just how long a pedigree the electronic harmonica has. The earliest one that I have so far discovered, was patented in 1948, by Alfred O. Williams of Michigan. This took the form of a chromatic styled instrument having electrical contacts instead of reeds, which operated tone generators similar to those found in a Hammond organ. A similar instrument using electrical contacts to replace the traditional reeds was patented in the early sixties, but instead of referring to it as a harmonica, inventor George P. Smith called it a "musical control device". This describes it rather well, as its main purpose was as a small remote control unit for other instruments - long before the advent of MIDI, you could have used your skill on the harmonica to control all manner of other sounds. Or at least you could have done, if this idea had ever made it to a commercial product!
Around the same time, various professional players were experimenting with one-off electronic instruments for their own use. Leo Diamond used a couple of specially-constructed electronic harmonicas for his album "Exciting Sounds From Romantic Places". British player Ronald Chesney featured what he called his "talking harmonica" on the BBC Radio show "Educating Archie". In about 1960, he recorded an E.P. record using this instrument, called "Johnny's Talking Harmonica", a sort of "Sparky's Magic Piano" novelty record for kids, that featured the harmonica playing such tunes as "Three Blind Mice" and actually speaking the words. Strictly speaking, this wasn't an electric harmonica as such, but a normal harmonica that was electrically amplified with the output sent via a tube to someone's mouth. As Chesney played the harmonica, the other person shaped the tone with his mouth in front of a microphone, making it sound like the harmonica was talking. Similar devices became popular for electric guitars and keyboards during the 1970s, featured on such hits as Joe Walsh's "Rocky Mountain Way" and Peter Frampton's "Show Me The Way".
In the seventies, various instruments were designed that used ordinary reeds in conjunction with electronics, as well as some purely electronic instruments. At the top of this page is a scan of a magazine picture of someone playing one of Hohner's designs from the late seventies - it looks like he is blowing into a sandwich toaster! Sadly, although not surprisingly, this never seems to have made it beyond Hohner's R&D department. The first commercially produced electric harmonica seems to have been the Elemonica 101, manufactured by the Japanese company Hoshiden Inc. in the mid 1970s. It was based around a 21-reed diatonic, essentially like the typical Asian-style tremolo, but using single instead of paired reeds. It had a built-in pick-up system that allowed it to be connected directly to an amplifier without the need for a microphone.
The eighties brought us MIDI (Musical Instrument Digital Interface) - whilst never quite the ultimate universal electronic musical language that it was claimed to be, it made the Millioniser an even more exciting instrument than it originally was (the first Millionisers lacked a MIDI output), enabling players to use their chromatic harmonica skills to control any sound that modern synthesisers and samplers are capable of producing.
Into the nineties and the innovations continued. Over on the American West Coast, Ron Schille came up with an instrument (again, strictly speaking it is a controller, as it has no sound producing means of its own) that can transfer virtually all of a player's techniques - tremolo, vibrato, bent notes, wah-wahs, etc. - into a MIDI code, to be applied to just about any sound you can imagine. Known as the ECH (Electronic Chromatic Harmonica) the current prototype looks like a slightly scaled-down version of the Hohner CX-12, but we have yet to see a commercial version of it. Another West Coast inventor was James A. Wheaton of Fairfax, California. He patented a harmonica-style controller that had breath sensors that used a newly designed ultra-mini anemometer to respond to the player's breath. The patent also mentions transducers to sense the pressure of lips and fingers, which could then be assigned to control bends or tonal colourations. It also includes a built in microphone to pick up the performer's vocal sounds, as well as a typical thumb wheel controller and an assortment of on-board switches. The patent is owned by Yamaha who also own a number of other patents for harmonicas and harmonica-related items, but they don't exactly seem to be flooding the market with these things. Sadly, the same also goes for the various other Chinese and Japanese patents for electronic harmonicas.
In the meantime, although the somewhat dated Millioniser remains the only commercially available harmonica-type midi controller, at least we have a couple of options for otherwise relatively normal harmonicas with built-in pickups, the Harmonix and haRmonic Solutions System and the new TurboHarp ELX. It remains to be seen how popular these will become with players.
The future? Well, I'm sure that we will all continue to enjoy the sounds of the traditional harmonicas for centuries to come, but I'm also sure that electronic instruments will still continue to be designed. Perhaps someone will come up with an electronic harp for the average player, that is both easy to play and cost-effective to manufacture. Casio, pioneers of electronic keyboards for the masses, hold a couple of patents on electronic instruments that are hybrids of keyboards and harmonicas. These patents date back to the mid 1980s, but I have yet to hear of any plans to market them. It does seem somewhat ironic that although the Millioniser was one of the earliest wind synths to be marketed, we now have several sax-style controllers available, but the Millioniser remains the only one based around a harmonica.
The photograph at the top of the page shows a Hohner prototype electronic harmonica from the late 1970s, invented by one Charlie Neumayer. If anyone knows any more about this invention, or to whom to credit the photograph, I would love to hear from them.
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