KongSheng harmonicas

Seems a bit cheap to me. Not heard of them.

This company originally made the *Powerbender and *Powerdraw for Brendan Powers, now BP has these harps made by Easttop. Are Easttop and KongSheng the same company? Do they use the same parts (reed plates, covers etc.)?


From what I have heard of them online, the cheaper models sound weak.

Here is Pete's opinion of the KongSheng Sunrise harmonica. As most of you know Pete is a professional recorded player.

The “*Sunrise” model seems to draw from several different models and manufacturers, as do many of the models pictured at the KongSheng site. The harmonica plays evenly across the range, I was able to hit all bends both draw and blow right outta the box. It is approx. 2.5 millimeters wider than the 1896 Marine Band, about the same width as a Hohner Blues Harp. The reeds all appeared centered in the reed slot channel, and the gaps were all quite manageable, nothing that would be causing difficulty of playing or response and needing immediate attention. I could feel comfortable playing this harmonica OTB at a performance.

The harmonica is noticeably heavier than the MB 1896, due to the reedplate being thicker than the MB by an est. of .02-.03 mils. ( I haven’t mic’d anything).

The added thickness increases the throw of the reed allowing it to move more air, consequentially making the harmonica louder and more responsive.

These are a few positive aspects I have found in this model in the short time I have had it.

The biggest problem I am having is the tuning, the tuning isn’t bad per se, it is A440, which when a reed is activated will drop anywhere between 2 and 4 cents, down to 438-436 flat. This is OK if one is play alone, but it will sound out either as accompaniment, or with accompaniment that is tuned to A440.

The Chinese have done a good job of reverse engineering to get to this model-I see aspects of Suzuki Manji, Marine Band 1896, Seydel 1847 Classic type oval cut wooden combs, etc-I don’t get how they dropped the ball on the tuning. There are some very aggressive tuning marks at the low end of the reed (at the heel where it attaches) that could cause stress fractures down the line. Losing a reed on an instrument with welded reeds, for me anyway, would be the end of that reed plate because I have no way of attaching another reed.

As I mentioned, in this harmonica I see design features that are inherent to the 1896 MB, Suzuki Manji, and the 1847 Classic. I would say it is a better harp OTB than the Manji and MB, and less so than a Seydel Classic 1847, or say a Crossover, or MB Deluxe.

@jim/all
I have just finished the first round of tuning, I'll let the reed plates sit for a day to let the spring settle then check the tuning again before I re-assemble the harmonica. I use a rotary tool, file, and draw scraper to remove material and I employ a "French" tuner so I don't have to keep attaching the reed plate to the comb, it is a tool from Andrew Z. I also use his recommendations for a *Korg chromatic tuner. I smoothed all corners and edges with 2000 grit sandpaper, no sharp moustache grabbers.

And while Chinese Red Sandalwood is indeed beautiful, it is messy to sand, I'll wear gloves if I ever encounter it again. I went ahead and sealed all the outer surfaces that you come in contact with. The mouthpiece section, I sealed with Enviro-Tex liquid glass, very smooth, and it gives the wood a high gloss appearance, not that I have ever had ANYONE other than another harp played comment on the beauty of a harmonica, go figure. Once I get it back together I plan to put it thru its paces. Even see how well it can sing when played amplified, then I send it back to you Jim...…...along with a hefty bill!!!kidding broheme. I need another diatonic in A like a hole in the head, unless it is to have a diatonic in A from every manufacturer of harmonicas that has ever existed:)
Regards, Pete