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Microphone Choices

"At The Harmonica Microphone Bench"

by Fritz Hasenpusch

Let's assume you play harmonica, are learning to play harmonica, or are intent on learning to play harmonica. If you pursue your passion for the tin sandwich to the point where you wish to share your skills/talent/gift/affliction with others beyond the acoustic range of the instrument itself, you will encounter Lord Microphone in one or more of his various guises. This is where the choices regarding what mic to utilize to this purpose will begin. Just as there are a myriad of styles of both harmonica playing and the musical forms to which it can be associated, there are any number of ways microphone choice can help to achieve an amplified sound that will not just suit your needs, but be an invaluable asset.

As a component in the chain of amplification, think of the microphone as an acoustic lens. It collects the information placed before it and renders sound into electronic impulses. These are in turn sent on to be amplified and applied however directed. IE: Instrument amplifier, audio console, recording gear, etc. As the chain of amplification's "lens", it's easy to understand that the variables occurring at this primary link in the chain will vastly influence the resulting output of the overall system. Just as changing the prescription, power, or tint of eyeglasses will change the perception of what we see, changing from mic to mic can change our perception of what we hear -and even what we play.

How to begin narrowing the field of available mics to find the most suitable candidates? Remember the old adage, "The right tool for the job"? Just as it would be unwise to drive nails with a telescope, blowing harp with your hands cupped around a Neumann U-47 tube mic would not be deemed good "bang for the buck". So, looking at the mics that have traditionally yielded positive results in their relative applications is a good place to gather the background info that will enable you to choose a mic for your own purposes.

Let's start our quest by looking at what characteristics to consider in the realm of hand held mics for playing Amplified Blues Harp. First, the term "HAND-HELD". The mic will need to be of a size and shape that can be held comfortably in your hands while also holding a harmonica. Obviously, just like different sized feet requiring different sizes of blue suede shoes to achieve a proper fit, one size does not fit all. Individual hand size will determine what is comfortable. SOUND: The mics signal will need to drive the amplifier it's coupled with adequately to produce sufficient output. That means that impedances will need to reasonably well matched (HI-Z to HI-Z, LOW-Z to LOW-Z). It's as if there is a conversation between the components. You'll need to make sure they are speaking the same language. WORKABILITY: Is the microphone of a design that will allow it to endure and function under conditions beyond those for which it was designed?

Before we announce our group of finalists, here's a little secret: NONE of these mics were designed for what we do to them!