Using Two Microphones
For Superb Sound

Positioning Two 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 two mics with Alison's Celtic and Paraguayan harps in live solo formal concert conditions. Sometimes two stage spots with two harps and two 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 per 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 2/3 down the soundboard (same as the pickup or there about's). For solo mics use this spot. Get the harpist comfortably seated with Celtic 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" away from the soundboard). Rock the harp back to shoulder. This allows the harp to be moved off the shoulder without knocking the 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 response. Using the desk EQ I usually boost the low frequencies approximately 2 - 3 dB.

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 with the desk EQ 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 size venues as the mic at the knee picks up some of Alison's voice. 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 main 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 "is this 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 Celtic Harp Amplification Series is available here.

Stephen Vardy
Harpsound Audio
[email protected]