Hi folks

Does any one have any advice for recording a solo acoustic harp?

I'm interested in what mic(s) best to use and placement for best recording.

This is a first for me so any top tips gladly received.

Cheers

I would go for a mic with a good transient response, something like the Sennheiser MKH series, or some AKG 414's in particular. I would personally avoid large diaphragm types, as they dont give the required "attack" If your on a seriously tight budget check out some of the SE Electronics mics, i think they are the best of the budget crowd. I would definatly record it in stereo as it is such a beautiful instrument and radiates sound form all over the place. I would start with an M+S pair or failing that some ORTF Cardioids. This is all so prersonal, and it's only a suggestion, and I'm sure you'll get loads of others, just experiment.

Take care,

Tony.

One thing to take into account is that the harp sound needs space to breathe. Use a good sounding room [or acoustically treat a not-so-good one] and then use a stereo technique at least 4ft away. If you use different mics for the different registers of the instrument you can get a bit closer - since this is a solo recording though I don't see a good reason to do this other than a bad sounding room.

the most difficult thing with recording a harp as a leading or solo instrument, is isolating it from external noises

its a very quiet instrument, and as mentioned above, you'll want to back off with the mics and give it plenty of space. this all adds up to lots of gain on the mics.

and if you're not in a well isolated room, you'll be picking up all kinds of noises from outside.

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Statick Audio

I recorded a harp last year. They're strange instruments to record - sound just seems to come from everywhere.

I spent a lot of time wandering around with headphones on, listening to find the best position. Eventually I came up with two options:

1. Stereo coincident pair about four feet from the harp, aimed at the strings, but at an angle of about 135 degrees (from the harpist, centre of strings and mics).

2. Close miking the high and low strings separately - pseudo stereo, like you might do with an acoustic guitar.

We ended up going with the stereo pair, using a pair of Rode NT5s.

which reminds me - no idea what it would sound like recorded, but i once had to close mic a harp in a live performance with a large 10-piece band, which included drums and guitar amps (so i really did have to get close with the mic!)

the part of the harp's frame which leans on the player is actually a soundboard, and a lot of sound comes from that. i had an NT5 placed only a few inches away from the soundboard, and the result was fine. i wouldnt say it was great, but, you might find that in addition to the distance mics, something placed around here might turn out to be useful.

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Statick Audio

Quote arpangel:

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I would go for a mic with a good transient response, something like the Sennheiser MKH series, or some AKG 414's in particular. I would personally avoid large diaphragm types, as they dont give the required "attack"

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The 414s are not exactly small diaphragm microphones.
Some of their many incarnations are very good for harp, though.

Since no one has mentioned: Depending on where mics are positioned around a harp, there is a chance of running in to phase problems due to the directions in which all those strings are vibrating. So, you really need to check the sum signal for cancellations. Despite that standard warning, every time I've checked, things have been fine.

A word about headphones and mic placement: That's a standard technique, but you can have problems. First, you must never assume that all of your outputs on single or multiple devices are the same polarity. For example, on many small Mackie mixers, the headphone out is polarity reversed from the rest of the board! That can be a good or bad thing, depending on what you're monitoring. In addition to cancellations by equipment polarities, as frequencies drop, your headphone listening will be increasingly compromised when you're in the same space as the mics. And, you'd still need to check the summed signal.

Hi Jaraldo, point taken, the 414 is one of those exceptions, despite wht some people say it is bright, you can't get away from that, but it tends to suite instruments with a lot of attack, like guitars and harps etc, thats what I've found anyway. And yes, half the battle is finding a good room but if you are stuck with a small one try not to use a mic set-up that can emphasise the room too much, that's the last thing you need really. If your using an M+S pair then keep them fairly narrow, ORTF ? well, youll have to be closer in a small room, otherwise youll definatly get that annoying small room boom that can occure all to often. I personally wouldn't use spaced omni's because of that. My advice would be to hire a good small hall, and you can normally do that by gettting friendly with you local vicar ! most of them just ask you to put something in the collection box if they know your not from a mega record company !

Take care !

Tony.

I've experimented quite a bit with harp (cause I play one) and my preferred position is to use a slightly wider than normal ORTF pair actually quite close (200mm to 300mm) to the right hand side of the soundboard. In a neutral room this gives an intimate 'studio' sound with a stereo spread of bass to treble, a little unnatural but rather attractive.

Note the soundboard is the flat board through which the strings pass not the lower body section that rests on the player's shoulder. The holes on the rear of the harp are not 'soundholes' but access to replace strings by the way.

I've used NT5s which are fine but have now started to use a pair of Neumann TLM193s MDC. I once had a great sound with a pair of Schoeps MK21s but had to give them back

I then add some ambient reverb with Spacedesigner, though sometimes I use the UAD Plate plug in for a bit more splash.

It's more comfortable for the player if you mic from the right hand side. You'll need to provide good light for the player from the left hand side and avoid red or black carpets as some of the strings will disappear.

By the way this set up is for a quality folk harp, you might need to move further back for a concert harp and ultimately it's all to do with the 'sound' you want from the instrument.

Cheers

Bob

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www.bickerton.co.nz

Quote Bob Bickerton:

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By the way this set up is for a quality folk harp, you might need to move further back for a concert harp and ultimately it's all to do with the 'sound' you want from the instrument.

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That's a very good point actually. My suggestion was for concert harp with quite a bit of room sound to make the recording seem like a recital. I've never got near folk harps though so I'm not aware of their peculiarities.

Hi Bob, good idea, the wide ORTF, I'll try that next time I get to record a small Harp, and maybe other things. Also good point about adding some artificial ambience, I missed that out, your reply was so succinct and to the point, brilliant.

Take care,

Tony.

Thanks folks.......

Since posting I've been working overseas - no chance to catch up with my question. I'll read all comments carefully and the session is in a couple of weeks now. If I have anything to add from my own experience I'll let you know.

Thanks again for all your thoughts - really appreciated.

Cheers,

John

My comment is not related to mic positioning etc but one major consideration for recording harp is good tuning of the instrument itself. I guess this applies to recording any string instrument, but just thought I'd mention it.

Cheers,
Andy.

...oh and another thing...harps have pedals right? The last time I recorded a piano I had to run out and find some spray lubricant (not an easy task as I was in unfamiliar territory in the middle of nowhere). I needed it to fix a pedal that was squeeking mid-take. Now I never leave home without some loob.

Andy.

PS. Packing 'just in cases' - I am turning into my Father.

Quote Griggsy:

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...oh and another thing...harps have pedals right?

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Concert harps have pedals, which enable the performer to change key and play accidentals, folk harps have 'semi-tone' levers towards the top of each string to do the same thing.

I don't play a concert harp but they're full of levers and mechanics (each pedal moves several cams on the strings) so I guess it's best to check and make sure the player had put the instrument in for an oil and grease before hand, if not an M.O.T.

Bob

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www.bickerton.co.nz