This section is always changing, as I discover more and better ways to amplify my lever harp. This is based on personal experience only - for other people's views and ideas on amping harps (and more technical detail), check out the links at the bottom of the page. - T.H.

Pick-Ups & Microphones    Amplifiers    Tech Talk (terminology)

Pick-ups and Microphones
Updated January 2004

Types of Pick-Ups
I'm currently using a Schatten Celtic Harp pickup, a dual transducer microphone that sticks directly to the wood. So far this is my favourite out of all the pickups I've used. I like the way it covers both bass and treble ranges, and having had it for several years now I can say it's definitely more durable than some of the other brands I've tried. I haven't been using a pre-amp, since most of my amped gigs at the moment are just with my trio, and we balance pretty well. However, when I've done any major stage gigs with other groups I've ended up having to borrow a pre-amp, so that will be my next research/purchase project.
When I first started out (in the early 1990's), I got by with an inexpensive tie-clip style microphone (Radio Shack, around $30 Cdn). While it is hardly the ideal pickup, it nonetheless covers the range of my harp pretty well and, unlike mics placed outside the harp, doesn't pick up any of the noise from the room itself. I still use this little mic in rare emergencies.
Recognizing the limitations of the tie-clip mic, I soon moved on to a transducer mic (you can get them from Dean Markley, Schaller, Barcus Berry, Fishman, Schatten and other brands). I started with a Dean-Markley pickup, which seemed a decent mid-range transducer, and cost about $50 Cdn (before taxes). However, I found it didn't stand up well to the constant wear-and-tear of detaching & re-attaching it to the harp for each gig. It lasted for a couple of years before it wore out completely. I then tried a Schaller oyster pickup, which was about equally effective in terms of sound, and comparably priced (mine was on sale for $45 Cdn. - most mics of that kind nowadays are around $70 and up), and this time I tried to install it a little more permanently. The sticky tape it came with was a bit too effective; I ended up needing a knife to get it off again when it, too, wore out (again, after less than two years). Also, having the cord constantly dangling from the harp was a pain when playing un-amped (even when carefully bundled up, it still sometimes buzzed against the soundboard).
The reason I was so set on this kind of stick-on variety pickup, was to avoid the bother of constantly having to cart around a mic stand (also, when it's stuck in your harp, you can't forget it or lose it). However, for studio work, I did find that two strategically placed instrument microphones (outside the harp) seemed to work better for a good balanced recording sound; the transducers were often too "hot".
Placing
I've consistently placed my pickup inside the sound box (from the back). On my little lap harp I put it about halfway up the harp. On my big floor harp, since the bass strings are quite resonant and louder than the upper strings, I place the pickup about 2/3 of the way up. You can also use two pickups (one for treble, one for bass) or a combination of a pickup inside the harp, and a microphone placed outside the harp pointing at the soundboard to pick up ambient sound. Or you can use two instrument mics outside the harp. I find it really tricky to get any kind of good balance with only one outside-placed instrument mic - however, I have had to resort to that in a number of situations, normally where the sound system is provided by the venue. When using mics outside the harp, you'll find the placing will change depending on the space you're playing in, background noise, type of amp used, etc. Transducers and condenser mics often really pick up the bass (sometimes too much), so with those I tend to put them a bit closer to the treble end.

Amps
Updated January 2004
Since I first began this site I have learned a few more technical terms, so hopefully I'll have to resort less often to phrases like "three-pronged thingie-whatsit". See below for a list of helpful terms (wish I'd known these when I started out, so I wouldn't have sounded so clueless).

Amps in General
While I enjoy playing acoustically most of all, I've discovered that amplifiers are really helpful in several situations - when playing indoors, especially where people will be talking (receptions, dinners, etc.); when playing for a large group of people; and when playing on stage. There are many different varieties of amplifiers, from the small portable battery-powered variety up to professional models. I mainly have been using the smaller variety with a built-in speaker, but often when I've played on stage with various ensembles we've rented or borrowed a larger system where the speakers are separate.
If playing with a big band or an odd assortment of instruments (or when using any kind of transducer), you can also plug yourself into a "pre-amp", which gives you a bit more control over your sound. The pre-amp then plugs into the regular amp. If you're thinking of buying a small amplifier just for you and your harp, be sure to get one that is designed with acoustic instruments (such as mandolin, classical guitar) in mind. I've tried plugging my little harp into a regular small guitar amp (meant for electric guitars primarily) and it sounded flat and "pingy", with too much treble and lacking the proper resonance (it sounded more like a banjo than a harp!). Keyboard amps often work well, since they're designed to cover a bigger range of sound.
What I/we use
The Peavey KB/A 100 keyboard/acoustic amplifier is the main amp I use with my trio. We started out with the 60 model, but we needed to move up to 3 separate plug-ins for the trio, and the boost in power was nice too. I discovered that the Peavey amp also makes a good monitor for those gigs where you want to be sure you can hear yourself during larger stage gigs, for instance when competing with drums, guitar, singers, cello, and crowd noise. (The monitors provided by the club often don't cut it, especially since they don't usually have harp players in mind). The Peavey KB/A is designed to cover a wide range of sound from bass to treble, so it works perfectly for the harp (I can also use it with my keyboard). It is, however, quite large and heavy (we put wheels on the 100 model), so not a good option for anyone for whom portability is the prime objective. Keep in mind that the little portable amps often do not do justice to the quality and range of harp strings, so be sure to try out several kind of amps before making a decision. However, if you're just looking to boost your sound enough to be heard over the fiddles and bodhrans at your local jam session, then you can get by with one of the little suitcase-style mini-amps, like a Pignose or Mini-Mouse. I've been playing around with the mid-sized "Hog" Pignose amps, since I like the fact that they are rechargeable (no cords or outlet needed!). While not the ideal representation of true harp sound, the smaller re-chargeable amps are perfect for loud jam sessions, busking, festivals, and the like - anywhere where you want to add a bit more volume to your natural sound. Lately I've been using my Pignose 20 fairly regularly for solo harp gigs at garden parties, receptions, etc., just to give it that boost so it can be heard over the crowd.

Tech Talk
Some Of The Weird and Mysterious Technical Terms of the Music World - New as of January, 2004

Adapters - Little gizmos that can be used to adapt your equipment, by turning, say, an XLR plug into a quarter-inch plug, or vise-versa (see cables and plugs, below). Very useful to have a few of these kicking around, especially if you are going to be using unfamiliar sound equipment at any point.
Cables - There are lots of different kinds of cables; which one you need depends on what type of mic or pickup you're using, and what type of amplification system you're plugging into. The most common ones to find yourself wrestling with are "mic cables", "patch cords" and "speaker cables". Mic cables are the ones with XLR (or canon) plugs (see "plugs", below). Patch cords, also known as guitar cords or quarter inch cords, have a quarter inch plug on both ends. Patch cords connect equipment and instruments together. Speaker cables are similar to patch cords but are used to connect the speakers to the amp or to each other. Cables can stop working at any moment with no warning or obvious reason, so always have extras!
Mic - Short for microphone (pronounced "mike"). Mics are separate from your instrument, and pick up sounds from the air rather than the direct vibration of the wood.
Mixing Board - Hopefully this is one thing you won't have to worry about, unless you have an emergency situation where the sound guy (or gal) doesn't show up on time - not fun. When using a standard sound system (as opposed to the all-in-one amps with built-in speakers), all the wires from the mics, pick-ups, effects pedals, etc. go into the mixing board, and then other wires go out to the speakers and monitors. The board is used to balance the various levels between all the instruments and equipment (volume, bass & treble, etc.). If you are going to be using one of these for the first time, practice with it first before going to your gig. Sound equipment is notoriously unreliable, and is mostly likely to be finicky at exactly the point when you most need it to work properly.
Monitor - If you are a harp player, playing amped on stage, you will need one of these! A monitor is a speaker that's aimed at the performer instead of the audience, so you can hear how you sound amped. It is especially important if you're playing with a group of other people, so you can hear yourself in the mix. In my experience, the one piece of equipment most likely to not work the way you want it to. Take the extra time during the sound check to make sure you're hearing yourself properly in the monitors, no matter how annoyed the other band members or the techies get - it's worth it!
Pick-Up - a transducer microphone that "picks up" the sound from your instrument, by being connected directly to it. Some pickups are built-in to the instrument. Others clip on. Most of those used by harpists stick directly to the wood, usually on the inside of your soundbox (using sticky tape or putty), and are removable.
Plugs - XLR (or canon) plugs are the ones with three prongs (or holes). An XLR cable will have three prongs at one end, and three holes at the other end. XLR cables are used to plug your mic into the amp or mixing board. Sometimes you'll need an adapter, if for instance you want to plug a mic cable into a quarter-inch slot on your amp, or vise-versa. Quarter-inch plugs have the tubular, skinny ends that plug into a jack that's a single hole. These are used for plugging in your pickup (if it uses a quarter-inch cord), and other kinds of personal sound equipment. They're essentially the same kind you use to plug your earphones into your walkman or MP3 player, only usually one or two sizes up.

More Info On Amplifying Harps

• Deborah Henson-Conant has a section on her site with comments on amplifying harps and electric harps. She has also put out a helpful booklet entitled "The Gurl's Guide to Amplification", which is available from most harp music stores.