Depends on the mics you already have. Start with the cheapest stage mic you have and go up from there. Most harmonica players usually have their own mic. I like to run a cheesy mic (with limited response) thru a really small guitar amp, and then mic the amp. There ain't a whole lotta range to a harmonica so unless you really want a hi-fi solo, go for the grit.
If you're going for a folky Dylan type thing, use a large diaphragm and some space. Also have the player hold the sides of the harmonica, not "the blues guy cup around the thing"
Every blues/rock harp player I know uses an Astatic mic. They are cheese in the extreme and add tremendous overtones to the harp. I usually record using a large diaphragm condenser (like my Rode NT1) about a foot away from the speaker of a Pignose or other smaller amp and get a great "in your face" harp sound. A 57 or 58 will work but not like an Astatic.
Comments
Depends on the mics you already have. Start with the cheapest stage mic you have and go up from there. Most harmonica players usually have their own mic. I like to run a cheesy mic (with limited response) thru a really small guitar amp, and then mic the amp. There ain't a whole lotta range to a harmonica so unless you really want a hi-fi solo, go for the grit.
If you're going for a folky Dylan type thing, use a large diaphragm and some space. Also have the player hold the sides of the harmonica, not "the blues guy cup around the thing"
I believe allot of cats use an astatic mic with their microphone.
Anyone?
Mixerman
Every blues/rock harp player I know uses an Astatic mic. They are cheese in the extreme and add tremendous overtones to the harp. I usually record using a large diaphragm condenser (like my Rode NT1) about a foot away from the speaker of a Pignose or other smaller amp and get a great "in your face" harp sound. A 57 or 58 will work but not like an Astatic.
And the Astatic has a volume control on the mic, I believe. That makes it easier for the player to adjust his/her level while playing.