Harplist Notes
Using Two Mics
Positioning 2 Condenser Microphones
Alison has very personal and
intimate style of playing and presenting Celtic harp music.
I try to recreate this effect for larger spaces.
I use 2 mics/ Alison's harp
in live solo formal concert conditions. Usually 2 harps and
mic pairs at the same time. This method works best with a
relatively quiet stage; no stage monitors (foldback) and a
modest distance away from and behind the front of house speakers.
The sound system requires some graphic EQ capability (15 to
31 bands/ stereo side) because inevitably there will be a
situation where feedback will occur. The harp is a natural
microphone and combined with the relatively high gain used
on the second mic you will have to notch out frequencies with
the EQ on occasion.
The first mic position is almost
the same as a solo mic position. There is usually a sweet
spot 3/4 down the soundboard (same as the pickup or there
abouts). For solo mics use this spot. Get the harpist comfortably
seated with harp on shoulder, then rock the harp forward until
it is free standing. Place the mic very close to the sweet
spot (1/2" to 1"). Rock the harp back to shoulder.
This allows the harp to be moved off the shoulder without
knocking a mic for a mid performance rest. This mic position
will give you a full sound of the harp sound box. Please note
I said the sound box, not the harp. Single mics, pickups and
inner box mini microphones all capture the sound box sounds
- often very well. Sit by a harpist (don't play it yourself)
and listen carefully. I have found that a lot of the sensual
quality of the harp comes directly from the strings - the
plucking sounds, the finger sounds the actual airiness of
the string vibration - these all have a different character
to the sound box sound. These sounds are usually not amplified
live. Studio recording engineers crave these sounds.
I try to recreate this intimate
personal sound for most of the audience by using a second
mic on the strings. The first mic I move a bit farther down
the sound board to give more base. Using the desk EQ I usually
boost the low frequencies approximately 3 - 6dB.
The second mic I place thus.
Have the harpist sit naturally and place the hands in a relaxed
mid string position and freeze with a smile as if their is
an imaginary photographer about to make them famous. With
your mind's eye draw a line from the smile through the right
hand until it reaches the area directly above the right knee.
That is where I place the second mic aimed directly at the
smile through the back of the right hand and the strings.
Make sure that the harp can be rocked forward without hitting
the mic.
I usually take a little off
the top frequency of the second mic and a I balance the outputs
approximately 60% bottom mic/ 40% top mic.
Both mics can placed on a single
low stand using 2 short booms.
For the bottom or solo mic
I use an Audio Technica AT4041 Small Condenser.
For the top I use an ADK A51s
large condenser or on foreign systems with a different engineer
a second AT4041.
Using it this way allows me
to dispense with a vocal mic for small to mid size venues.
Using headphones at the sound desk I can clearly hear Alison's
breathing during play and with care it sometimes can be heard
from the front of house speakers.
For setting amplification volumes
there is a natural point of audio amplification in a room
where the sound is not forced and it is comfortable to listen
to yet is still moderately loud. Set this volume for the second
to third row of the audience. At this point the sound system
"disappears". Literally! I have people ask me if
this is amplified? They can see the mics and speakers but
cannot acoustically distinguish the technology from the real
thing.
People become immersed in the
whole sound and the emotional responses flow. The dynamics
right down to the last fingerpad brush of a string are there
for most to hear. It really works and is a real pleasure and
honour to be part of.
I will add your knowledge and
experience to the “mix” if it can add to the effectiveness
of these articles. The rest of the Harp Amplification Series
is available here.
Stephen Vardy
Harpsound
Audio
[email protected]
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