Harp On!
Amplified Tone

What you can do to make life easier
for yourself in your search for good tone.

On this page. Amplified harmonica tone.

• The Perfect Rig is a point of view.
• Impedance Matching for your best tone.
• Getting It Out There while avoiding feedback.
• Clean Amplification Playing through the PA live.
• Playing at High Volume can affect your musicianship & hearing.
• Last Thoughts about plugging yourself in.
• Contents

• There are three connectors usually found on microphones: 1/4" mono phone/phono/guitar jack or socket; XLR cannon (3 pin); or amphenol screw on microphone connectors (unbalanced). The latter is usually only used for discontinued bullet microphones, the other two are common for most audio, effects & amplifier connections. If you have a bullet mic with the amphenol connector, you can use the "SWITCHCRAFT 332A" microphone connector which screws on and has a 1/4" jack to plug regular guitar leads into.
• If you are using a guitar amp or effects pedals which is set up for high impedance (anywhere between 100KOhm to 470Kohm to 1Mohm), then low impedance (100 Ohm to 150 Ohm to 1 KOhm) or dual impedance (33K Ohm to 100KOhm) microphones are best used through an impedance convertor/adapter/transformer to high impedance (470KOhm to 1MOhm).
• Impedance convertor/adapter/transformers are available at most music stores. Some impedance adapters are weaker than others and some introduce noise which is undesirable. So be sure to try a few different brand/models out and see which ones work best for you.
  If you have a low impedance or dual impedance mic with a 1/4" TS or TRS (phono) plug then you can wire up a 1/4" socket to XLR plug to go between the mic and convertor. Wire 1/4" 'tip' to XLR pin 2, and 1/4" 'sleeve' to XLR pins 1 & 3.
• I have an Archer 274-016 with a XLR balanced input for low impedance XLR mics and a 1/4" male unbalanced plug for high impedance devices such as guitar effects, preamps and amplifiers.
• Shure offer A85F Line Matching Transformer which has an XLR balanced input for low impedance XLR mics and 1/4" unbalanced output for high impedance devices. Transformer provides 24 dB of voltage gain and can be used either way.
  Shure also offer the more versatile (and expensive) A95UF Line Matching Transformer (female XLR) and A95U Line Matching Transformer (male XLR) with XLR balanced connection on the low impedance end, and amphenol screw on microphone connectors on the high impedance end intended for a screw on 1/4" female jack and/or screw on 1/4" male plug.
• Vocal microphones with XLR cannon connection are usually low impedance wired for balanced cables, in which case make sure the cable you use has XLR cannon connects on both ends. Being balanced low impedance they work happily through 30' cables and can plug straight into PAs & mixers for good results.
  If you want to plug your XLR low impedance microphone into a 1/4" jack its best to use it with an impedance convertor.
• If your microphone is low or dual impedance but has a 1/4" jack, then get a 1/4" socket to XLR plug convertor and use this to connect it through an impedance convertor. The Shaker Dynamic and Shaker Crystal microphones are dual impedance wired for high impedance, they come with XLR or 1/4" connectors, they all need to be put through an impedance convertor properly up to high impedance (1MOhm) to get the best out of them. Because of this the unbalanced XLR connector version is the best option which you plug straight into an impedance convertor.
• The majority of high impedance harmonica mics need some form of preamp or impedance matching device to sound their best with guitar effects and amplifiers. The Asatic elements are very hot rated at around 5MOhm and require impedance matching avoid having their bass end drop out and reduce feedback. The modern Shure "Green Bullet" 520DX and Shaker microphones are not powerful enough to plug straight into guitar gear and sound weak and thin and prone to feedback. The small mics that come with their own preamps are just fine. The discontinued high impedance Shure dynamic elements like those found in the old Green bullets are fine for plugging straight into guitar gear as well.
• Some bullet microphones fitted with Astatic MC151 Crystal element such as the Hohner Blues Blaster, CAD and Astatic JT30 are very high impedance (5 MegaOhm). And because of that do not work well with most modern equipment (rarely more than 1MOhm). Whats worse is some of these come with an unbalanced XLR jack. For these use a XLR to 1/4" cable without any transformer. AND you will need to plug these into a purpose built device with 5MOhm impedance like the Harp Commander, or Kinder's Anti-Feedback+, or DIY Mike Mojo, or an amplifier specifically set up for purpose as covered on Amplifiers. Or you can have the first effects pedal in your chain setup for harmonica mics by Ron.
• You can use low impedance mics on guitar amps but your headroom (range of volume) is greatly reduced. This can be good if you want a clean sound through a normally heavily distorted amplifier. However doing things this way can cause some mics like the Shaker series and the later Shure 520DX mics to give a tinny edge to your tone and lack bass, IE they have no balls. On the other hand XLR low impedance mics plugged straight into an amplifier with an XLR to 1/4" unbalanced cable can sound really good, but you just have to turn the amp right up to get any volume.
• How you connect mics and other audio equipment can make a big difference in the quality of your track.
• Plugging your SM58 (low impedance) mic into your computer (high impedance). Where Shure explain why you need to use an impedance convertor with low impedance mics, and suggest the AudioBuddy by Midiman Audio. It is a dual input DI unit that can take balanced or unbalanced XLR and 1/4" connections from low or high impedance devices. It has a gain level for each input, and puts out two line signals through 1/4" unbalanced plugs intended for computer line levels. Its intended for using with computer sound cards. It can also be used into a PA, Mixer, or your stereo line in. It comes with an external power supply.
• Preamp tube substitution with guitar tube amps helps with feedback by bringing down gain levels. GAIN is the enemy. However using a preamp which has the correct impedance and boosts the microphone can really beef up your tone.
  A preamp with sensitivity control is recommended.
• I have an original bARCUS-bERRY preamp which works very well with all my microphones into tube amplifiers, which really makes the difference between a weak sound and a great tone when using guitar amplifiers. It also gives control over the mix at my fingertips when on stage. It has a "sensitivity" control.
  
• Ron's Tweak Shop sells harmonica specific Harp Commander. Detailed under Amplifiers page. This adds tube warmth & goodness to your tone whilst combating feedback. This is designed specifically to deal with feedback & impedance issues between mics, amplifiers, mixers and PAs. It adds a lot of options to your setup including playing into an amp and a PA at the same time.
• Kinder offer harmonica specific units for matching impedance, improving tone and fighting feedback in addition to their harmonica amplifiers.
• I regularly use Behringer's MX802A mixing desk which has gain level control (+10dB to +60dB) in addition to volume control for all the inputs (operating at +4dBu, - 10dBV), so it can take anything from low impendance (100 Ohm to 1 KOhm) all the way up to high impedance (470 KOhm to 1MOhm). If you have a low impedance mic with XLR cannon connection like the SM58, then your cable should have an XLR connection to go into the sound board. If you have low or dual impedance mic with 1/4" jack use an impedance convertor to get it up to high impedance plug through a DI box into the PA. With high impedance (470KOhm to 1MOhm but no more) guitar effects, preamps and microphone work reasonably well directly in, as long as the microphone at has its (impedance) needs level as discussed on this page.
  
• Even if you are using a mixer and all your levels are within the limits, its still worth considering using a Direct In box or Preamp because a number of mixers usually don't have the best preamps available built into their inputs. You may find your tone can be improved by using a good DI box or preamp into the Mixer/PA. This is also true even with low impedance microphones. Personally I like the tone of the MX802A mixer line preamps, but I enjoy adding warmth and adding to the tone using outboard preamps.
  
• If a mixer or PA doesn't a good range of gain control over the line input's levels, you may find that your sound is distorting and/or clipping. In this case any High Impedance (470kOhm to 1MOhm to 5MOhm) microphone, preamp or guitar effect really needs to be brought down to low impedance, and this is where a Direct In box or Preamp works.
• If I'm playing on stage, and the house mixer is too far away, I've had a lot of success playing various harmonica mics into a Behringer Ultra-DI DI100 through into a PA, and have the tops and mids rolled back a bit and the bass turned up on my channel. Run off a 9 volt battery, or from phantom power the Ultra DI takes either low and high impedance unbalanced XLR or 1/4" connections and puts the signal out through a balanced XLR connection intended for mixers and PAs. It can bring your high impedance signal down using one or two "Pads", which are attenuators dropping your signal by 20dB or 40dB if needs be.
  
• Behringer's Ultra DI120 is a dual purpose portable DI box, which can either take two instrument signals (like harmonica mics) and DI them to seperate XLR balanced signal, or it can be used with one input that is split out both XLR balanced signals and straight through using the second 1/4" jack as a instrument output. Both the Ultra DI100 and DI120 are inexpensive DI boxes, so their preamps are not the highest quality. If you have the budget, it's worth looking into more upmarket brands such as Tapco.
  
• Some preamps are designed to take high gain signal and be plugged into stereos/computers/PAs/mixers (in addition to amplifiers) such as the Harp Commander purpose built for harmonica, and the Mesa Boogie V-twin tube preamp foot pedal. Beringer Tube Ultragain Mic100 preamp These preamps can add warmth and fuller tone to your sound as well as offering better response & signal than just plugging straight into a PA or mixer.

Feedback is when your microphone can hear itself through whatever its plugged into. The typical harmonica player's setup of cupping a microphone and standing in front of the amplifier at moderate to high volume levels is the best way to create feedback.
There are ways to mitigate this, and increase your volume while warding off feedback.
• High levels of: Volume; Treble & Mids; Distortion; Reverb; Echo & Delay, also using high gain amplifiers and/or devices, or holding the mic too close or directly at your amp (or monitor) will increase the chances of feedback. Reducing any of these, and you'll reduce the chances of feedback.
  
• Standing in front of your amp and cupping the mic is inviting feedback, because the microphone is facing the speaker, and you're cup is creating a perfect environment to hear itself, even with your head in the way.
  So put the amp to one side of you or in front of you facing the audience - but then you may have problems hearing yourself. So...
• Use a mic, preferably a clean vocal or instrument mic like the SM58, or SM57 on a microphone boom pointed at 45 degree angle towards your amplifier cab. And plug the mic straight into the PA. This is known as "micing", and retains all the tone from your amplifier whilst increasing the volume.
  This way you're free to either use the amp as your own monitor, or ask for a monitor/foldback from the PA to be patched into your channel. With this setup, you can have your amp and/or the monitor placed in front facing you or off to one side of the stage pointed at an angle towards you, enough to hear it. Just make sure its not directly behind you, nor pointed directly at your head, and therefore the microphone.
  
• If your amplifier has an auxilary speaker output you can plug it directly into a Behringer Ultra-DI DI100 - be careful that both attenuator buttons are pressed on the Ultra DI100 BEFORE turning anything on. Then you can hook the DI's XLR balanced output straight into the PA or a mixer.
  The Behringer Ultra-G GI100 DI has "speaker emulation" button which simply reduces the treble to give the impression you're playing through an amp cabinet. Although you could achieve something similar by turning the treble down on the mixer.
• If your amp has LINE OUT, you can put the amp at the front of the stage facing YOU, and have the sound guy plug the line out into the PA. This will bypass the tone your speaker and cab.
• There are a number of anti-feedback devices on the market. Behringer's DSP110 Shark is a feedback control unit, a compressor with many other features and its inputs and outputs are both XLR balanced low impedance and 1/4" line level plugs.
  
• ATTENUATORS/POWER SOAKS & SPEAKER OUTPUTS
  Power Attenuators (aka Power Soaks) are plugged into your amp's head, either its speaker output, or auxilary speaker output. Attenuators are very versatile devices and enable you to do all sorts of things with your amp's sound.
  • YOU MUST MATCH THE IMPEDANCE OF THE ATTENUATOR TO THE IMPEDANCE OF THE AMP'S SPEAKER OUTPUT OR YOU WILL DO DAMAGE TO YOUR AMPLIFIER.
    Most attenuators have an impedance level selector (16 Ohm, 8 Ohm or 4 Ohm), like the Tom Scholtz Power Soak, Marshall PB1 Power Brake, and the popular Marshall SE100 Speaker Emulator. Attenuators like the THD Hotplates come in different models with a set impedance level, so you have to buy the correct unit that matches the impedance for your amp's speaker output. You should find the appropriate speaker impedance for your amp in its manual, or labeled near the speaker output(s).
    
  • BE VERY CAREFUL, MAKE SURE THE AMP IS COMPLETELY OFF BEFORE DISCONNECTING THE SPEAKER OUTPUT FROM A LOAD (SPEAKER AND/OR ATTENUATOR). MAKE DAMN SURE IT'S PLUGGED INTO A LOAD BEFORE POWERING AN AMP UP. IF THE AMP IS NOT PLUGGED INTO A LOAD, IT WILL FRY ITSELF.
  • Whether you plug the attenuator into an auxilary speaker output, or into the main speaker output, you can then plug your speaker, or additional speakers/cabs into the attenuator, and use the attenuator's level as a Master Volume control.
  • If your amp has an auxilary speaker out, then you can easily use your amp as a monitor, and dial the attenuator to whatever level is appropriate without affecting your amp.
    
  • If you dial the attenuator level to minimum, you can use the output into a PA, Mixing desk, effects pedal, another amplifier, headphones, your computer, stereo, or anything can take an unbalanced line level signal.
    IF YOU PLUG AN ATTENUATOR'S SPEAKER OUTPUT INTO ANY DEVICE OTHER THAN A SPEAKER AND THE ATTENUATOR'S LEVEL ISN'T AT MINIMUM YOU WILL FRY THE DEVICE.
    An exception to this is a Direct Inbox built to handle speaker signals, like the Behringer Ultra DI100. Ideally its best to use something like this between an attenuator and any gear you care about, save speakers and other attenuators.
    
  • If you use the attenuator output into a PA (with or without DI Box), you can have a monitor patched into the signal. This will bypass the tone your speaker and cab.
    
  • Some attenuators come with a built in Line Out signal with independant volume control which is a great deal safer than plugging the attenuator output dialed low into a PA, and means you can run your speakers at whatever volume you want independantly from the line level into the PA/mixer.
    
  • Most if not all attenuators have two outputs, so you can use this as a way to connect your amp into additional cabs/speakers. Or to feed two seperate line level devices, like the house PA, and your own PA which you use for monitoring, or any number of recording setups. If your amp has two speaker outputs, you can use two attenuators, and have four speaker outputs from the attenutors for running several cabs, or into any combination of audio gear.
  • If your amp doesn't have 1/4" jack or any other means of external speaker connections, although it might be simpler to just mic it to the PA. You can have it wired up with a 1/4" jack and plug so that you can use it with an attenuator or appropriate DI box.
• It's worth checking out other websites that cover the subject of practical amplifier selection, and sorting the myths from the facts. One very straight forward no nonsense article is Amplifier Myths, Fantasies, and Facts on RockDog.com.
• There is a point of no return which cannot be beaten, especially if the band itself is playing too loud on stage because your microphone will pick them up, and pump it back out your amp even louder than before and away it goes.
  In those unfortunate cases, you'll need to eliminate your sound from the stage as best you can. Some guys can play blind by habit and accept this as normal. You can put an earplug into one or both your ears, and you'll hear your harmonica because its vibrations are going through your bones - it takes a bit of getting used to since it sounds like you're playing under water, especially when bending and overblowing notes. If you have the means, you can get an earpiece or headphone monitor for yourself - preferably wireless.

• When playing into a PA you want to have the treble reduced and the bass increased. Its important that you can hear yourself playing clearly so ensure you get a stage monitor or can hear yourself from the main PA speakers adequately.
• At low volumes Treble & Bass frequencies are louder than mid frequencies, the louder the volume, the less the discrepancy. The LOUDER the you go, the LESS Bass & LESS Treble you need. This is a critical point that often gets missed by those who aren't aware and then they wonder why what sounded great at low levels sounds flat or tinny or woofy when amplified. With the EQ you want to start at low volume with an almost inverted Bell Curve and work up towards a flat line for 100db plus keeping the top treble down a bit... not that I'd recommend going over 85db anyway.
• An excellent & powerful PA is a must. The more Watts the better, not because it can get very loud, but because its more effective at obtaining the levels you want effortlessly, you don't have to fight with loading levels on so on since you are playing a solo instrument through a system that is designed for less harmonics at any one time. A powerful system easily overcomes this. Good powerful Quality Speakers also count as we're talking Hi-Fi fidelity & PA's here the rules are different to using tube amplifiers.
• For adding a little body to your playing reverb, delay & echo in moderation are your friends. The key word is MODERATION. For harmonica I find that even with chromatic harmonica playing clean, the lightest touch of echo with a moderate mix in helps create a bigger sound.
• You can add a lot of warmth to your tone without losing clarity by playing through a good Class A all-tube Amplifier such as the Fender Bassman, Fender Blues Junior, Fender Champ, Victoria 518-T or Victoria 45410-T, and Ron Holmes Harp Commander designed to add tube tone for harmonica into a PA or clean amp. Ensure that the preamp or amplifier isn't driven too hard causing distortion, use a clean microphone like the Shure SM58 with an impedance convertor, if you use a low impedance microphone directly into an amplifier you will get a weak tone. If you are playing at a moderate to large venue or in a loud setting with a tube amplifier then have a clean microphone like the SM57 position at an angle in front of the amp fed into the PA, although in a small venue the amplifier is likely to be enough.
• With a PA or mic'ing an amp the more speakers the better. I've been stung by this too many times. I have played without mic'ing, I'm on a stage with the audience spread 180 degrees around me, the band is all go and I'm just playing through a small amp ... what happens ? People directly in front get to enjoy what I'm playing, but the people either side have a hard time hearing me if at all. Not a good look.
  If you don't have proper projection around the venue your playing can come across muted, muffled, deadened or simply not be heard so make sure your sound gets a good spread with at least two PA speakers on high stands with good exposure to all the audience. It pays to do a sound check with and without your accompaniment at full volume well before the performance to avoid problems. Ideally try to have yourself feed through a monitor in front or at an angle at the side that doesn't point at your head so you can hear yourself but avoid feedback.

Playing at High Volume
And Your Hearing

• Do not confuse musical intensity with volume. True musicianship is about learning how to build up tension with rhythm, phrasing, harmony, tone, melodic ideas and dynamics, and then resolving - it's not about dialing up the volume. Within the normal hearing range (40db to 80dB) the human ear is much more sensitive to dynamics, offering the musician a lot more scope for expression. Once the volume goes over a certain level, the ear has trouble distinguishing dynamics, and you all end up sounding one way ... Very Loud! While this can be exciting and give some people a rush, it is not conducive to good, truely creative musicianship. The same effect can be achieved at moderate volume levels with good musicianship. A harder goal to attain, but thats part of being a musician, finding musical ways to express yourself!
  
• I don't understand why the average musician insists on playing at ear damaging volume levels. Generally anything over 85dB will hurt your hearing. If you need to shout to hear yourself, the volume level is damaging. Sustained periods of and/or frequent exposure to high volume levels will cause permanent damage. The louder things get, the less exposure needed to cause damage. Tinnitus is when your hearing deteriorates, and you experience a very irritating ringing hiss. And although there are ways to cope with Tinnitus, at best its a fustrating condition. More so for musicians who have a passion for music. If you expose yourself to enough damaging levels the condition becomes permanent, and theres no cure.
  
• While earplugs can reduce the chance of damage for moderate to high levels with varying effectivenes, they can't protect your hearing over a certain level. Most earplugs offer between -15dB and -20dB of attenuation intended for volumes under 105dB. There are specialist earplugs that are intended for 105dB to 120dB. But even if you have good earplugs fitted properly, when the volume exceeds a certain level, your hearing will be damaged anyway because sound is transmitted to the inner ear via the bones of your skull. Yet for all of that, the average Rock Band performs around 110dB to 120dB!
• If the band's mix is out, rather than each musician increasing their level, as they do, get the loudest instrument(s) to turn down.
  Ideally, the soloist and/or singer should have the loudest level, so the backing musicians & sidemen need to keep their levels down until its their turn to solo. When you're finished soloing, turn your volume back down again.
  Bands being what they are, you all need to have an agreement from the start how its to be handled, and preferably a recognised band leader who'll fairly insure the agreement. Like anything that involves your well being, its up to you what priority you give your health weighed against what abuse you'll take for the sake of fun and/or earning your bread.
• If you're performing at a big and/or noisy venue, rather than playing at very loud levels to compensate, use proper sound reinforcement ie. use of a PA & multiple speakers. By judicious placement and setup of the speakers you will reduce the need to crank up the volume on stage, and risk your health.

• If you want a dirty distorted tone, but can't find the right mix between distortion, and clarity, try using two microphones: one clean & one dirty. Possibly play through a bullet mic into your amplifier and wear a miniture lavelier mic through the PA, this gives more options for getting your mix of tone & dynamics right. Although this is more likely to be useful for chromatic harmonica than short harp.
• There are lots of neato gizmos out there, its fun to try them out. Don't buy on a whim, you'll probably regret it.
• There are many amps and microphones out there. Richard Hunter as a professional harpist has a write up on playing through the Crate VC508 and has an extensive amplifier shoot out.
  If you want extended technical information & opinions I suggest joining the harmonica community and asking there.
• At the end of the day, some of the best harmonica I've heard is acoustically through a clean mic and put clean through a good PA. Distortion is great for hiding all manner of mistakes, playing acoustically enables much more range of dynamics and musical expression.
  

  Always try before you buy!

Harp On! Amplified Harmonica main page.

• Microphones Bullets, elements & vocal mics.
• Amplifiers Tube/valve amplifiers, preamps and emulators.
• Effects pedals and units.
• Amplified Tone Avoiding feedback & getting good tone.
  • Comment on amplified tone
  • The Perfect Rig is a point of view.
  • Impedance Matching for your best tone.
  • Getting It Out There while avoiding feedback.
  • Clean Amplification Playing through the PA live.
  • Playing at High Volume can affect your musicianship & hearing.
  • Last Thoughts about plugging yourself in.
• What G plays through

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