Notes on the recording from Pamela:
I was shocked at how hard the samples were to tell apart. I love carbon fiber harps, and yet I was still surprised at how well they recorded. In some ways, they are superior for the recording studio to wood harps.
All harps were recorded using two microphones (see below for the types) one pointing at the bass of the soundboard and one near the treble. The same microphones and placement was used for all 5 harp samples, except that the bass mic was raised about 3 inches while recording the Infinity.
Almost no processing was done on the sound. I didn’t spend the time I would ordinarily have spent when recording an album to tweak the sound, fine-tuning the EQ or the reverb. What you’re getting is pretty much the raw sound, which is a great basis for creating the sound you want on an album. And it’s shocking how good it is just like that!
The relative volumes are as they were recorded, again with one exception: in recording both black Delight harps, the input had to be turned down slightly, because they were louder and were overpowering the microphones. This delighted my sound engineer, who usually complains about harps being hard to record because they are so quiet. No complaints about these!
The DragonHeart wood harp that I used is my (former) recording harp, on which I’ve recorded all of my recent albums, so it’s top of the line and well seasoned.
For the technically inclined, we used: Neumann KM184 & Royer 121 microphones into APA Juggernaut Preamps and Lucid AD9624 digital converters.