Members slight-return Posted May 23, 2007 Members Share Posted May 23, 2007 So I finally got Rachal to deign to try an electric instrument (got her a Rhodes mki and had a Leslie around anyway)she actually likes it a lot!! so now she want to run every damn thin through "her" (funny how that happens isn't it) Leslie...including the harpsichord(oh that should be weird) anyway, any suggestions for micing the harpsichord? I was kind of thinking maybe just sticking a PZM to the underside of the lid, but I don't really know what I'm doing there I guess I'm going to have to get some generous volume as the amplification is really about creating special effect (instead of just straight sound reinforcement) so feedback could be an issue Link to comment Share on other sites More sharing options...
Moderators Lee Knight Posted May 23, 2007 Moderators Share Posted May 23, 2007 This is live with a rock band? If it's like that I'd use the PZM taped to the closed lid. If it's not live, I'd use a LDC in the room, back into the room enough to soften what is a pretty spiky sound. If it's a signal only intended to be sent to the Leslie, I might stick with the 1st idea of PZM, closed lid. Link to comment Share on other sites More sharing options...
Members slight-return Posted May 23, 2007 Author Members Share Posted May 23, 2007 This is live with a rock band? Bah! you whipper snappers and your loud rock an rolling music I have a mind to give you a taste of my riding crop!! nah, it's just for messing about in the house (more of an experiment than anything) and really isn't rock (she's from Red Stick, so she tends to like fairly trad music) but it is going to be live and she does jam with a mouth harp player (I'll probably get drafted too) My though on the high SPL is b/c she really wants to get the leslie sound, so a little extra juice might be needed to "cover up" the acoustic sound for the performer...then again, it's a pretty quiet instrument, then again, it is a bid resonating box If it's a signal only intended to be sent to the Leslie, I might stick with the 1st idea of PZM, closed lid. thanks yeah it' basically to get it lesliefied (I SAY it's a word damnit!) I can't get her to play anything purely electronic...electromechanical is abt as far as she's intrested in going (she has e-drums, but doesn't like em, we needed to go e there b/c of noise issues when we lived in the SF bay area) Link to comment Share on other sites More sharing options...
Members slight-return Posted May 23, 2007 Author Members Share Posted May 23, 2007 Isn't it in "howl" that Ginsberg raps about Jazz on Harpsichord? I have made concessions to modern times -- don't tell any purists, but I run it in equal temperament (well, I ear in maybe a little stretch, but the compass isn't that huge, so I don't have to go too far for that and it's a harpsichord, it's not like it's going to stay in tune anyway ) Oh, did I forget to say thanks for putting some thought into th situation -- really - I appreciate you taking the time Link to comment Share on other sites More sharing options...
Moderators Lee Knight Posted May 23, 2007 Moderators Share Posted May 23, 2007 A contact pickup might work well too. There used to be a nice pickup (C-something) in the shape of a 12" ruler that you'd stick to whatever. Like a Harpsichord lid or soundboard. Do they have soundboards? Or this maybe... http://www.kksound.com/purepiano.html Then think about a way to muffle it's acoustic output with a nice looking bed throw or something. Drape it over the top then put your candelabra on top! Link to comment Share on other sites More sharing options...
Members slight-return Posted May 23, 2007 Author Members Share Posted May 23, 2007 Do they have soundboards? yup, inside they are really just big-ass zithers! Or this maybe... http://www.kksound.com/purepiano.html hmm, maybe - but I have some concern -- they mention having the transducers freq response tuned to the piano -- the harpsichord's compass is like 1/2 that of the piano and the spectral output is not exactly "lush and full" (who was it? somebody said the sound of a harpsichord is like two skeltons fornicating on a tin roof ) still, I guess I could proof-of-concept with an array of crystal transducers (maybe just try the old Ratshack buzzer kludge to see what kind of response I get off the soundboard at various places) Then think about a way to muffle it's acoustic output with a nice looking bed throw or something. Drape it over the top then put your candelabra on top! Link to comment Share on other sites More sharing options...
Members slight-return Posted May 23, 2007 Author Members Share Posted May 23, 2007 Was it baldwin that made that electric harpsichord (I think they used a mag-coil pickups per course...sort of a'la Rhodes, but I'm not sure) I wonder if anyone ever made a pickup bar for retrofit to an acoustic harpsichord? (I guess that could be difficult as the beasties aren't exactly standarized n their construction) hey! that might get me out of a lot of chores "Hush woman! no time to mow the lawn, I am wiring up pickups for your harpsichord" Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted May 23, 2007 Share Posted May 23, 2007 Yes, Baldwin (among others) made an electric harpsichord. You're in luck - there's one on Ebay right now: http://cgi.ebay.com/Baldwin-Electric-Harpsichord_W0QQitemZ170112762020QQcmdZViewItem I've been looking for a good electric harpsichord sample forever. I'd bid on that, but I don't have enough room, or the ability to justify that much cost for something that would only rarely ever get used / played. Link to comment Share on other sites More sharing options...
Members slight-return Posted May 23, 2007 Author Members Share Posted May 23, 2007 she'd kill me and it was hard enough to get hr to go electric at all I must amit though - the engineering-geek in me is enchanted Link to comment Share on other sites More sharing options...
Members slight-return Posted May 24, 2007 Author Members Share Posted May 24, 2007 I've been looking for a good electric harpsichord sample forever. Gonna revisit "for your love"? man, cant help you much there -- one thing I do notice though (and this may be neither here-nor-there for you) is that the harpsichord action really does change how you approach the keys [ you play really arched and on top of the key as opposed to putting weight into them like on piano, it seems to effect the whole deal] I think Yamaha actually made a "digital" harpsichord with "click" action to give you the feel I'd bid on that, but I don't have enough room, or the ability to justify that much cost for something that would only rarely ever get used / played. probably best not to - they can be harsh mistresses and since they are so simple, you have to stay on top of regulating them correctly. Kind of like how sensitive a 2 stroke can be to carb adjustment so letting one sit can wind up making it a mess that and repair is really more about fabrication Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted May 24, 2007 Share Posted May 24, 2007 Gonna revisit "for your love"? Close - it's for a cover I've been working on forever, but not that song. Link to comment Share on other sites More sharing options...
Members brewgoodbeer Posted May 25, 2007 Members Share Posted May 25, 2007 I am not a fan of the PZM with closed lid. It always gives too much signal. Not enough to cause problems with the PZM, but enough to color the sound. Harpsichords, IMO, are very airy and ambient. You loose the with a closed lid. I would think that it would be part of the sound that the leslie would have fun with. I also think that a LDC away would be too much the other way. Not enough initial signal. Link to comment Share on other sites More sharing options...
Moderators Lee Knight Posted May 25, 2007 Moderators Share Posted May 25, 2007 I am not a fan of the PZM with closed lid. It always gives too much signal. Not enough to cause problems with the PZM, but enough to color the sound. Harpsichords, IMO, are very airy and ambient. You loose the with a closed lid. I would think that it would be part of the sound that the leslie would have fun with. I also think that a LDC away would be too much the other way. Not enough initial signal. I agree... but I can't think of a decent middle ground. And he'd want to keep the Leslie from getting back into the mics. For srictly studio, I'd say mic it like a purist would, by getting good room / instrument balance and route to the isolated Leslie, but I don't think that' going to fly in this scenario... Link to comment Share on other sites More sharing options...
Members Anderton Posted May 25, 2007 Members Share Posted May 25, 2007 Yeah, but what about a traditional miking? I have a harpsichord recording project coming up this summer, and am seriously considering using one mic on the instrument, and room mics (the room has excellent acoustics). Then I'd copy the main mic to two additional tracks, and do my famous split-by-EQ technique to give it stereo spread in addition to the room stereo. I've done this with classical guitar and it works fabulously - no phase issues, and half the noise of using two mics. Link to comment Share on other sites More sharing options...
CMS Author MikeRivers Posted May 25, 2007 CMS Author Share Posted May 25, 2007 Yeah, but what about a traditional miking? I have a harpsichord recording project coming up this summer, and am seriously considering using one mic on the instrument, and room mics I've used a stereo pair about six feet away. Watch the meters when you're setting levels. There's a huge attack and a mighty quiet string. Beware the fear of wimpy waveform syndrome! Link to comment Share on other sites More sharing options...
Members fantasticsound Posted May 25, 2007 Members Share Posted May 25, 2007 Yeah, but what about a traditional miking? I have a harpsichord recording project coming up this summer, and am seriously considering using one mic on the instrument, and room mics (the room has excellent acoustics). Then I'd copy the main mic to two additional tracks, and do my famous split-by-EQ technique to give it stereo spread in addition to the room stereo. I've done this with classical guitar and it works fabulously - no phase issues, and half the noise of using two mics. I can hear the "beer" commercial now... Half the bar: "No phase issues!" The other half: "Half the noise!" "No phase issues!" "Half the noise!" :D Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted May 25, 2007 Share Posted May 25, 2007 and do my famous split-by-EQ technique to give it stereo spread in addition to the room stereo. I have a pretty good idea of what you're talking about, but I'd love to have the specifics Craig. Link to comment Share on other sites More sharing options...
Members slight-return Posted May 26, 2007 Author Members Share Posted May 26, 2007 Woah, very cool hey I'm on family vacation (The extended family with a bunch of little ones and such), so my immediate reading time is limited [i'm on right now b/c I'm designated sys-mommy for a couple of folks wh need to do some work] BUT I wanted to thank you guys for taking the time to consider both the general problem (harpsichord micing in general) and the specifics of my application (ah, things we do for love...OK, I have to admit, Im pretty curious as to how it will pan out too--ugh did I just do that pun?? ) and I'll be reading more closely in abt 5 days! anyway -- off I go and thanks again!! Link to comment Share on other sites More sharing options...
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