Solo Celtic Harp Recording
Mic Techniques

There are as many ways of miking a Celtic harp as there are recording engineers. What follows is a starting point. Feel free to contact me for more clarity or discussion on how to best record solo Celtic harp music. I have been involved with 3 solo harp recordings with my wife Alison which were by most respects very successful.

The sound board sweet spot is about 1/3 up from the bottom of the harp. Directly miking the board alone loses the plucking sounds which IMHO makes up 50% of the sensual component of this instrument. Use of 2 or more mics adds many more possibilities for a more full sounding recording.

The First Method - a more classical sound

Put a very airy and sensitive large condenser in the vicinity of the sweet spot angled approximately perpendicular to the floor. Put two small condensers 2-3 feet outwards on each side of the harp aimed through the strings at each playing hand. From the harpist's perspective her right hand will be upper/mids and you left pan the corresponding upper L condenser.

Right pan the lower R condenser which should be capturing the lower mids/base through the strings played with her left hand.

The dominant mono large mic is augmented by an airy and subtle "chime" effect across the stereo channels from the small condensers as the fingers breeze through the octaves. Sample MP3s

The Second Method - a pop sound

Essentially reverse of above. From the harpist's perspective a large condenser above the R hand facing down - pan right. A second large condenser on the same side of the harp at the base facing up - pan left. The mics need not even be the same brand. Set up a third mic farther away in front and above the harp in mono for air and room ambience.

Ends up with a strong chime effect with the dominant up/down condensers. The base will be predominantly in one stereo channel with a strong stereo field through out the recording. Sample MP3s

The Third Method - true classical sound

Stereo pair in front of the harp L-R configuration close in enough to get a little nose "breathing" in the recording. Back off to balance harp with the room. A large condenser can be added between the stereo pair for more distant recordings.

A Fourth Method - a meditative sound

Stereo pair in front of the harp L-R configuration close to the pillar at waist level (50 degrees spread). Pan hard L and R. A large condenser can be added off to the side aimed at the hands and panned mono. This creates a sound that is centered in the head. Sample MP3s

All 4 recordings were recorded dry for reverb and were recorded in a medium plaster high ceiling room/ walk in closet/ music hall/ small dead room respectively. Hope this helps you start towards recording your next CD.

I will add your knowledge and experience to the “mix” if it can add to the effectiveness of these articles. The rest of the Celtic Harp Amplification Series is available here.

Stephen Vardy
Harpsound Audio
[email protected]