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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.
It is, however, quite large and heavy we put wheels on the 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. One helpful thing to remember when using mini-amps , is that the sound won't carry all that well if you set the amp on the ground; they tend to work much better placed on a stool or chair. 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!
Probably more useful for electric or electro-acoustic harps, than for an amplified acoustic harp. It's good to go for at least six channels if you can, although for a harp, a ten-band EQ is ideal. The traditional kind of instrument microphones are separate from your instrument and require a mic stand - they pick up sounds from the air rather than the direct vibration of the wood. Transducer mics that attach directly to the instrument are commonly known as " pickups ".
Greensleeves Traditional. The Willow Tree Traditional. Mary Young and Fair Traditional. All Through the Night Traditional.
The Rising of the Lark Traditional. The Foggy Dew Traditional. Gather Ye Rosebuds Traditional. Harp of Gold Traditional. The Minstrel Boy Traditional. Ieuan's the Blind Harpist's Delight Traditional. An Buachaill Caol Dubh Traditional. Na Connery's Traditional. An Goirtin Fornan Traditional. Carolan's Air Traditional.
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