Chromatically Chromonica Chronologically

Hi Riff Raffers,

A new, very old harp housed in its original box now resides in my humble collection. Mark Weber has meticulously investigated and reviewed technical aspects of the harp at chromhistory.

What follows is an account of my pursuance from world experts on how, when and where this Hohner harp, ‘The Up To Date Chromatically Tuned’ fits into chromatic history. Remember if you know what and how, you should known when and where. First cab off the rank of course was harmonica guru, Pat Missin.

Hi Shep.

I have never seen “Up To Date” on a chromatic, nor have I ever seen a Hohner chromatic that looks anything like that, nor does it resemble, as far as I can tell from the photos, any of the Hohner patents for chromatic harmonica. I have no idea where this fits into the chronology of the instrument. — Pat.

Pat in a follow up email had this interesting titbit.

The whole history of the Hohner chromatic is really weird. The 260 first appeared in Hohner catalogues and the music press around 1911. Then it vanished for more than a decade and finally pops up in catalogues around 1923, with the music trade publications describing it as a new instrument. Then a few years later still, the patent for it gets published. It’s all very odd.

So where this one fits into it all, I have no idea. It could be a prototype that somehow escaped. That has happened – I have a 14-hole Super Chromonica that was never officially produced. It could also be a short-lived design that somehow never made it into their catalogs and escaped the attention of the music trade mags. Perhaps it was unsuccessful and Hohner tried to pretend it never existed. At this point, I honestly have no idea.

Have you run this one by John Whiteman? — Pat.

No I hadn’t, so I ran this by John.

Hi Shep,

It is well documented that the 260 10-hole chromatic made its commercial debut in 1911.  The chromatic that you have is clearly earlier than that. Here is how I date it at approximately 1901:

1) The label indicates 3,000,000 harmonicas produced per annum and 1,000 workmen.  This dates it to approximately 1900. 

2) There is a star in the trademark.  I believe it was added in 1901.  That would date it to 1901 or later, but the 3,000,000/annum holds it back at 1901

3) The slide handle and spring are of a less mature design than the 260 that appeared in 1911.

4) “Up to Date” in the name meant nothing and was evidently put there because they had nothing better to say, yet they failed to suffix it with “harmonica”.

5) “Patented in All Countries” couldn’t be true, so they put it out in limited numbers with a CYA statement about patent, and probably about registration.

I suggest sending the photos to Martin Haffner at the harmonica museum in Trossingen.  I saw nothing like this in that Hohner Museum. Thanks for sharing the photos and history of your purchase. John

I took on John’s suggestion and contacted the museum, however a response would take several attempts and efforts of people working behind the scenes for it to come to fruition. Then blow me down, Pat had this fantastic discovery.

Looks like my gut feeling on the date was wrong. Attached is a page from Music Trade Review, September 1898. I missed this the first time I searched. I’m not finding any later references to it in MTR. — Pat.

When thanked and questioned on how he had acquired this gem, Pat replied.

Happy to help. I’m pleased I gave it another shot – this time I just searched for “chromatically tuned” and that turned it up.

Up until you found this one, the standard chromatic history was that there were several prototypes in the late 1800s, then Hohner advertised the 260 around 1910 (describing it as “the first and only practical one”), but then it vanished for more than a decade. It suddenly popped back up in the early 20s, with Hohner promoting it as though it were brand new. Even weirder, the patents for it didn’t get published until several years later and I’ve never seen any reference to the chromatic “Up To Date” in any Hohner publications, or elsewhere, except for that MTR article. It’s all very strange.

I have a pretty complete collection of German harmonica patents and I’ve never seen a Hohner patent that resembles the chromatic UtD. It’s possible that they may have registered a DRGM for it, but that’s not as easy to dig up. However, I agree with John that “patented in all countries” is some creative BS.

Anyway, here is some background that might be interesting:

Finally, after a little behind the scenes prompting, Martin Haffner (to be fair he had been away) from the harmonica museum replied.

Dear Shep

In short: Your find is spectacular! We do have many different Up to date harmonicas in our collection, but no “chromatically tuned”.

And just now I had a look inside the catalogues, printed for the American / English market in the early 1900s (around 1902/1903). Your model is not mentioned at all.

I’ve got a mail by Roger Trobridge England with an attachment of the Musical Trade Review, Sept. 1898. There is the “Up to date chromatically tuned” mentioned as a new Hohner product. Since the fan community is not so big, you must have got this source meanwhile.

My theory: In fact the model was produced in 1898 (perhaps still 1899), but it must have been a commercial flop. Probably the mechanism didn’t work.(?) As far as I know, our archive has no single document telling anything about this rare model.

The “Up to date chromatically tuned” was an early try. And there was a break of minimum ten years, until the later well known Hohner “Chromonica” was mentioned the first time.

Please send me your report / keep me up to date!!!

Best regards

Martin Häffner


During this chromatic journey I became intrigued into the tuning of all these harps and wondered when and where ‘solo’ tuning came into existence. I probed Pat’s endless knowledge once again. Remembering that if we knew why and who, that would tell us when and where.

“Richter Tuning” is a relatively new term. I’m not certain, but it seems to have originated in the 1980s. The original term was “Richter System” and it referred to one of the various types of harmonica construction:

Using the name Richter to denote the tuning is a little iffy, as other types of construction (Knittlinger and Viennese in particular) use a similar note layout. However, there is no denying that the term “Richter Tuning” is in common usage. It gets a little messy with the typical chromatic harmonica being technically a Knittlinger System construction (they are basically made like Concert harp, with the addition of the mouthpiece and slide assembly), so referring to them as “Richter Tuned” is a little awkward, although most people would know what you meant.

The 260 is the catalogue number for what was originally termed the Chromatic Harmonica and later the Chromonica, changing to the latter sometime in 1924. It has been made in several different tunings over the years. Initially, it was tuned like a standard 10-hole diatonic in C, with the button changing it to a C sharp scale. This was later referred to by Hohner as “Regular Tuning”, but most people now call it a Richter tuned chromatic.

By the 1930s, it was also available in Solo Tuning. However, that was different to how a 10-hole Solo chromatic would be set up now. Hole 4 and upwards were tuned like the Regular Tuning. 1, 2 and 3 blow were tuned E, G and C, the draw notes tuned F, A and B, with the slide raising each by a semitone.

Then some time later, the Solo Tuned 260 was changed so that it was like a standard 12-hole Solo Tuned chromatic, but missing the top two holes. Not sure when that happened – maybe after WWII?




The slide spring was changed from external to an internal one in the late 1920s around the same time the Super Chromonica was produced. The Super was originally designated 260 1/2 and later changed to 270. It has always been in Solo Tuning, available in a variety of keys.

Solo tuning predates the Chromonica by some time and was originally intended for use on diatonics:

Older chromatic players recall the change to Solo Tuning back in the day, but apparently at that time it was called Haussler Tuning, after William Haussler who worked for Hohner US and was apparently responsible for a lot of harmonica development and promotion:

For thoroughness, the two patents I’ve been able to locate for the Hohner Chromonica are (click on diagram):



On the latter page I say: “The Chromonica 260 had been available for almost two decades when this patent was granted”. That probably needs to be amended. As far as I can make out, they announced the 260 in 1910/1911, but it doesn’t appear to have actually been available until later. It reappears in 1923 and is touted as being a new instrument. The following year it was recorded for the first time:

Which brings me back to the Up To Date. I have been unable to find any other references to the UTD Chromatically Tuned, aside from that MTR article. If it weren’t for you actually owning one, I would have dismissed it as vapourware. There have certainly been numerous instances of Hohner announcing a new instrument that never actually materialised. My wife had an idea about this. She worked in product development for a couple of large companies and often they would send out trade samples of items. These were small production runs that were past the prototype stage and in their final (or near final) packaging, sent out to various dealers to test the market. Sometimes the feedback they got from them lead to changes in the product or packaging, sometimes it lead to the item being killed before going into full production. It’s possible that’s what happened with the UTD Chromatically Tuned and might explain why there are so few records of its existence. — Pat.

I had better throw in the 64 Chromonica into the chronology, which was available down under in 1936.

1936-Hohner 64 Chromonica

While we’re at it lets quickly have a gander where a couple of Aussie Chromatics fit within the chronology.

1936-Albert’s Boomerang Chromorgan made by Seydel (Picture courtesy of John Whiteman)


1937-Allan’s Crackamonic made by F A Rauner (photo’s courtesy of Doug Dawson)

A few closing, late additions relating to Klingenthal companies still having the external spring long after Hohner’s internal design and the use of standard tuning on Chromatics. Over to you Pat.

It seems reasonable to assume that the chromatics in Regular Tuning were intended for use with vamped chords in the lower octave. There is also the factor that it meant that someone experienced on a standard diatonic would be able to pick up the new fangled chromatic, without having to learn a new tuning. I suspect that was a factor too.

Also, there was a tuning variant for the 260 I forgot to mention-Alto Tuning. This was the same layout as the older Solo Tuning (ie the one with just the lowest three holes changed), but one whole octave lower in pitch.

It does seem like the Klingenthal companies lagged a little with chromatic design. It’s also possible that Hohner were aggressively defending their German patent from 1930. Currently a German patent has a term of 20 years. It used to be 15 years, but I’m not sure when it was extended. WWII may also have affected things. — Pat.

Further to Pat’s earlier mention that the 260 was not sold until over a decade after it was first announced, a Nicholson & Co advertisement in The Sydney Daily Telegraph (12th December, 1913) for Hohner’s celebrated Chromatic (selling for 7/6) would perhaps suggest otherwise, although this is the only evidence I could find of its sale before the 1920’s.

Pat responded.

As for the Nicholson’s ad, that is the earliest evidence of them being offered for sale that I’ve heard of. I had more or less come to the conclusion that they were advertised in 1910, but never actually sold until more than a decade later. That said, is it possible that Nicholson’s were advertising them without actually having any in stock? – – Pat

My immediate thought was that ‘The Great War’ may have impacted production and sales of the Hohner Chromatic.

Cheers and Guinness frothies to all participants, in particular to Pat Missin (& wife) whose efforts went way beyond the call of duty, John Whiteman, Martin Haffner & Mark Weber. In finishing, how and when didn’t tell us what and where, but it was who and what that told us when and where. Ch SD

PS: 24/1/2020 Another one located in Great Britain. Purchased by Mark Hand and donated to the museum. Mark has kindly sent some pics with cover plate and slider detached (I wasn’t game to do it to my baby).

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