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Processing and quality of the individual parts:
In it's unused condition the cover is beautifully designed with very good lateral reinforcement. However after only 4 practice hours some discolouration appears, which after about 12 hours looks very bad, producing colours similar to the tempering tarnish on steel surfaces. These changes in colour are removed only with great effort.
Mulitones are achieved with difficulty because the design and manufacture has resulted in the instrument being too thick.
The comb is airtight and has a very high quality finish. There are no
discernable seams or joins, however traces of later work (a post-polishing
process) can be detected. Extremely dense.
The reed-plates and reeds (zigzag order) are of a very high quality, however
the reeds have been welded into place and are therefore almost impossible to
remove and replace. The gaps are small, manufactured in such a way that the
instrument is suitable only for beginners.
Tuning - the standard A440.
The reeds are accurately centred and spot welded into position, so no corrections are necessary, however because of the way this has been implemented any correction would be impossible.
The slide package is flat, however the edges are too sharp. The slide movement (6.8 mm) is smooth but angular and the mouthpiece drillings too sharp-edged although the function feels light and the movement quiet. In pristine condition it is easy to use, but feels somewhat spongy. However after lubricating with paraffin-oil, the slide movement behaves perfectly. For normal consumers it is maintenance-friendly, however it is advisable to clean and oil the instrument approximately every 20-practice hours.
Very airtight. However sometimes a small static electrical charge is perceptible, leaving a sour taste in the mouth.
The rubber buffer is too delicate, the fastening screws too weak and therefore easily damaged.
The spacer is stable, but should be adjustable, plus some effort should
be made to ensure the nuts which secure the mouthpiece-screws into position are prevented from falling out when making adjustments.
Assessment:
The above mentioned defects are easily corrected and should prove no problem to the professional player.
Quality of the assembly:
Very high, no deficiencies were detectable.
Basic tuning:
The tuning at A440 is outstanding, accurate over all octaves and very stable. The one exception was my sample instrument, which was tuned to a1=443.
Repair ability:
For normal consumers no repairs should be necessary for quite a long time.
The reed-plate is easily assembled and even after repeated dismantling and re-assembling, remains airtight. However I suggest Torx-screws should be
used.
Valve exchange is trouble-free.
The slide-package assembly is relatively difficult to work on, the security protection of four mouthpiece nuts is missing.
Assembling the covers can be a test of one's patience. They are difficult to centre and bring to their correct positions. There are no centralizing bolts, so the screws often turn without engaging. (without becoming fixed)
Therefore it is necessary to hold the nuts from the opposite side. (which in fact requires the use of three hands!)
Response over all octaves:
The new instrument without alteration, is capable only of playing quietly, however, after adjusting the reed gaps and installing three additional higher lying (inside) valves, the highest octave performed very well.......however the first octave was somewhat retarded in tone... The second octave was good, even very good...and the third octave was outstanding.
Air consumption:
Measured in it's pristine state, even after correction of the reed-gaps it still required more than the average air consumption. This could become uncomfortable when performing long and difficult pieces.
Volume, at highest:
After correcting the reed gaps, an average - high volume was achieved.
Volume, at lowest:
Very quiet playing is possible.
Tone - volume. (subjective):
Rather thin and somewhat sharp.
Bending capabilities (subjective)
Not satisfactory, every note seems to react differently.
Stability of the reeds:
At first a very high standard is noticed, however after approximately 30
hours of extremely hard practicing, the instrument goes out of tune.
Stability of the valves:
Broadly speaking, a comparison with all other Harmonicas is applicable.
Stability of the slide-package:
With professional treatment and attention to regular cleaning andlubrication, a very long life is possible.
Feeling when playing:
Lies comfortably on the mouth, however it presents a problem when playing chords, (more than one note at the same time) Thick covers! The high octave plays very well, but from c1 until approximately e2, the feel becomes somewhat cramped and hesitant, then after that, again very good. However for my concept, it sounds somewhat sharp.
The mouthpiece with its sharp edges soon becomes uncomfortable, especially
when practicing for long periods and possibly aggravates my flexi-vibrato.
Easy - quiet works can be played without a problem, however I must add the reed gaps must be increased.
Total evaluation, subjective:
Were a few serious construction defects to be remedied by the manufacturer,e.g. the reed gaps adjusted, better mouthpiece security protection, improved cover material, plus the installation of a cover centralising device, then the SUZUKI SCX-64 would be a very fine instrument for beginners. For the advanced player however, the welded reeds must be acknowledged as a distinct disadvantage.
Improvement suggestions:
For greater mouthpiece screw protection, rubber buffers should be installed
and higher quality material used for the screws.
Make the mouthpiece holes (drillings) softer and easier on the mouth, by polishing the edges - (create tiny polished radiuses, rather than razor sharp edges)
For the reed-plate fastenings, the use of Torx or Allan screws is recommended.
Covers: It would help the operator if a centralising bolt, or a similar
device could be installed.
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