Introduction
Mic’ing unusual folk instruments at festivals requires equal parts technical know-how and cultural sensitivity. When instruments like the hurdy-gurdy, nyckelharpa, kora, or dulcimer hit the festival stage, standard microphone setups might not suffice. Festival audio teams around the world – from intimate village folk gatherings in India to massive open-air festivals in Canada – have learned that each of these instruments has unique needs. Proper preparation ensures that their rich, authentic sounds reach the audience without unintended squeals or muffles. This guide offers practical, road-tested advice for festival producers and sound engineers on amplifying these four distinctive instruments, covering everything from mic choices and noise control to cultural context and contingency plans.
Hurdy-Gurdy: Amplifying the Wheel Fiddle
The hurdy-gurdy (sometimes called a “wheel fiddle”) presents singular challenges. This medieval instrument produces sound by a rosined wheel rubbing against strings, and it includes drone strings and a buzzing bridge for rhythmic buzzes. For festival stages, microphone selection is critical:
– Clip-on condenser mics (e.g. small instrument microphones) can be attached near the instrument’s sound holes or bridges. These move with the performer, ensuring consistent pickup even if the player sways or turns. A high-quality clip-on captures the hurdy-gurdy’s complex mix of bright melody and droning undertones.
– Hypercardioid small-diaphragm condensers on boom stands are another good choice, especially if the performer remains relatively still. A hypercardioid mic, positioned about 30–60 cm (1–2 feet) from the instrument, can focus on the hurdy-gurdy’s output while rejecting stage noise. However, it requires the player to stay in the sweet spot; too much movement and the sound may drop off.
– If the hurdy-gurdy has built-in pickups or contact microphones (some modern players install these), get a DI (Direct Input) line ready. A DI can provide a clean, noise-resistant feed for the instrument’s lower frequencies (drones). Often, a blend of a pickup (for stability and bass) and a mic (for natural air and detail) yields the best result.
Soundcheck tips: During soundcheck, pay attention to mechanical noise. The hurdy-gurdy’s crank and key mechanisms can create clicks, whirrs, and humming sounds. Have the player crank without playing melody to identify any constant mechanical rumble; apply a high-pass filter on the mic channel to cut out very low-frequency wheel noise if needed. Also listen for the distinctive buzzing bridge (called the “trompette”) – it’s intentional and important to the music’s rhythm. Communicate with the engineer so they don’t mistake the buzz for a problem to EQ out; instead, manage its level with gentle compression so it doesn’t spike too harshly.
Resonance and feedback: The hurdy-gurdy’s drone strings are typically tuned to fixed pitches (often a fifth apart) and will resonate with stage monitors if those frequencies are booming. Before the show, have the engineer softly ring out the monitors and identify if, say, an open C or G drone is causing a feedback loop. If so, notch-filter that frequency slightly on the monitor send. In extreme cases, ask the musician if they can damp an unused drone string with a small piece of foam or cloth during amplified sets – many experienced hurdy-gurdy players are aware of this issue.
Instrument care: Given its wooden build and moving parts, the hurdy-gurdy is sensitive to weather. Outdoor festivals in humid climates (like a rainy UK summer festival or tropical events in Southeast Asia) can cause the instrument’s cotton-wrapped strings to lose friction, resulting in slipping sound. Backstage, provide a dry, cool area for the instrument and have some rosin and cotton on hand so the player can refresh the strings’ coating if needed. Always ask the performer about spare string needs: hurdy-gurdies use a mix of strings (some akin to violin strings, others more unusual). These spares are not sold in local shops in most countries, so ensure the performer brings extras or have a festival liaison source them in advance. A broken melody string or drone mid-performance can silence the instrument, so having a backup ready is essential.
Nyckelharpa: Amplifying the Keyed Fiddle
The nyckelharpa – a traditional Swedish keyed fiddle with resonating strings – requires a delicate balance of mic technique and noise management. It’s often played with a bow, like a violin, but uses keys to change notes. Its unique design means it has multiple sets of strings: melody strings, often one drone string, and a series of sympathetic strings that ring on their own. Here’s how to tackle it:
– Clip-on microphones are highly effective on nyckelharpa. Attaching a mini condenser mic near the f-holes or on the tailpiece can capture the instrument’s warm, violin-like tone while the player moves or turns. Many nyckelharpa players use a clip-on mic placed under the strings, just behind the bowing area, to pick up both the bowed string and the resonance from the body. This position yields a natural sound and minimizes bow noise. Ensure the clip is secure but padded, so it doesn’t dampen the wood’s vibration or mar the finish.
– A hypercardioid small condenser on a stand can also work if the performer is mostly stationary. Place it pointing toward the soundboard, about 20–30 cm (8–12 inches) away. Hypercardioids will reject sound from the sides, which is useful if the nyckelharpa is sharing stage with loud instruments (common in folk bands). Watch the performer’s movements; if they step back or side-to-side while bowing, be ready to adjust mic aim or use a slightly wider cardioid pattern to allow for some movement.
– Some nyckelharpas might be outfitted with a contact pickup or an internal mic system. If so, plug that into a DI with a high-impedance input – many pickups on fiddles are piezo-based and need the right DI to sound good. The direct signal provides a feedback-resistant foundation. Often, a blend is ideal: the contact pickup gives presence and attack, while a mic provides the airy, full-bodied quality of the instrument.
Noise and resonance control: During the soundcheck, listen for key noise – the nyckelharpa’s wooden keys can clack when pressed or released. A sensitive mic (especially a clip-on very near the keys) might pick this up. To mitigate it, experiment with mic placement: a position a bit further from the key mechanism (but still catching the sound holes) can reduce the percussive clacks. A small piece of felt under each key (if the musician agrees) can also soften the impact noise without affecting playability. However, many nyckelharpa players are used to a bit of key noise; it’s part of the instrument’s character, so completely eliminating it isn’t necessary once the music starts.
More critical is the sympathetic resonance. The nyckelharpa typically has a choir of sympathetic strings (often tuned chromatically). These strings vibrate in sympathy with played notes, enriching the sound. But on a loud stage, they can also ring uncontrollably if a monitor or nearby speaker excites them at their resonant frequencies. Common problematic frequencies might be the tuning of those sympathetic strings (which could range across many notes). Have the musician play a scale or some long sustained notes during soundcheck, and see if any note causes an obvious prolonged ring or even a low-level feedback. The engineer should be ready to subtly EQ out or notch any persistent resonant peaks in the instrument’s channel. Encourage placing monitors at an angle or distance where they don’t blast directly into the nyckelharpa’s body – this instrument often benefits from in-ear monitors if available, to virtually eliminate on-stage feedback issues. If that’s not possible, using a hypercardioid mic (as mentioned) and keeping stage volume lower will help.
Instrument care: The nyckelharpa uses steel strings for melodies and sympathetic strings, which can be prone to breaking or going out of tune with temperature changes. If your festival is in a hot sun or in a cool evening, note that metal strings will expand/contract and affect tuning; schedule a quick tuning check right before the performance if possible. Always have spare strings specific to nyckelharpa on site – these are specialty strings (some musicians use modified violin or viola strings, but sympathetic strings are thinner and not common). Coordinate with the artist in advance so they bring what they need. Additionally, provide a clean, dry storage space when the instrument isn’t on stage; excess humidity (as can happen in coastal festivals or monsoon season events) can corrode the fine steel strings and rust the key tangents. A small dehumidifier pack in the instrument’s case or a climate-controlled green room can make a big difference in keeping the nyckelharpa stable and sounding its best.
Kora: Sound Reinforcement for the West African Harp-Lute
The kora is a West African harp-lute with 21 strings and a large calabash gourd body covered in animal hide. It produces a beautiful, harp-like sound that often needs amplification for festival crowds, especially when the kora is part of a band or on a big outdoor stage. Miking a kora has its own twists:
– Many kora performers today use a combination of a pickup and microphone. A common approach is an internal or bridge-mounted pickup providing a direct signal (to a DI box), paired with a small mic near the sound hole to capture the natural airy tone. If the artist’s kora has a built-in pickup, plug into a DI with high impedance input to get a full, bass-rich tone (this prevents the tinny sound that can result from piezo pickups into the wrong input). Then supplement it with a clip-on mic aimed at the skin soundboard or just at the opening of the gourd. The clip-on can be attached to the wooden neck or a brace, pointing down toward the body. This dual-source method gives the engineer flexibility: the direct signal adds stability and volume, while the mic adds fidelity and nuance.
– If the kora doesn’t have a pickup, two hypercardioid condensers can be used – one pointed at the front of the gourd (sound hole area) and another near the strings above the bridge. This stereo-ish technique can capture the kora’s wide range (bass notes come from the longer strings in the center and melody from the shorter strings on the sides). However, this open-mic setup is more prone to feedback on loud stages, so use it when volumes are moderate or in quieter, acoustic-focused venues. Wind noise can also be an issue for the gourd mic if outdoors; always have foam windscreens or, better, a thin fabric drape inside the gourd to cut wind entering the mic, if the musician consents.
– Direct Input only: In very loud festival scenarios (for example, a kora player sitting in with an electric band at a fusion festival), relying mostly on the pickup via DI might be necessary to avoid feedback. Ensure to EQ the DI signal to sound natural – often a slight midrange scoop and adding a bit of high-end sparkle can compensate for the “boxy” tone of pickups. Some kora artists travel with their own preamps or pedals to shape the sound; be ready to accommodate those in the signal chain (have extra power outlets and space at FOH or monitors for their gear).
Monitoring and resonance: The kora’s resonator is essentially a drum (a stretched skin over a hollow gourd). This means low frequencies from stage monitors or subs can excite it easily. During soundcheck, have the kora player and engineer work out a monitor plan: it’s often best to keep heavy bass out of the kora’s monitor if it has one, to prevent a rumble. The engineer should apply a gentle high-pass filter on the mic channel to remove unnecessary sub-bass that the kora doesn’t produce musically. Also, watch for sympathetic vibrations – if the kora is near a drumkit, for instance, certain drum hits might cause the kora’s strings to ring slightly. This usually isn’t problematic unless magnified by mics; if it is, repositioning the kora mic or physically dampening a couple of the lowest strings (with a twist tie or foam under them when not in use) can help.
Cultural context and playing style: Kora players (often called griots or jalis in West Africa) have an intricate playing style using both hands to pluck, and sometimes they sing while playing. Make sure the audio team knows to treat the kora as a lead instrument – it carries melodic and bass lines simultaneously. Often it’s central to the performance, not just background. In genres like traditional Malian or Senegalese music, it’s expected to hear the subtle ornaments and harmonics of the kora clearly. Communicate this to the engineer so they give the kora ample presence in the mix, even if it’s alongside drums or electric instruments. Also, discuss any vocal mic needs if the player sings; balancing voice and kora is key, and the artist may have a preference (some prefer the kora slightly lower than voice so their storytelling is front and center, others prefer a blend).
Instrument care: The kora is quite sensitive to humidity and temperature. Its soundboard is goat skin – high humidity or rain can loosen the skin, dropping the tension and making the sound dull or even unplayable (just like a hand-drum going slack). Conversely, very dry, hot conditions can over-tighten the skin, risking cracks. If your festival is in a damp environment (say, coastal Singapore or a rainy English festival), have a dry, warm room where the kora can be kept before the show. Providing something like a gentle heat lamp or hairdryer backstage (with the artist’s supervision) can help them tighten the skin if it sags – many kora players are accustomed to carefully warming the skin before playing to get the tone right. Always ask first and let the artist handle this, as it’s easy to damage the instrument with too much heat. For strings, koras traditionally used gut or fishing-line nylon; today, many use synthetic harp strings or fishing line of specific gauge. These can break under energetic playing or climate stress. Ensure the performer has spares (they usually carry a roll of the right line to replace a broken string). It’s wise to have a bench and good lighting ready backstage for emergency string changes, since threading and knotting a kora string (which ties onto a leather ring) in dim light is challenging.
Dulcimer: Miking the Hammered Strings
“Dulcimer” can refer to two different folk instruments: the hammered dulcimer (a large, trapezoidal string instrument played with mallets) or the Appalachian mountain dulcimer (a smaller fretted zither played on the lap). Here we focus on the hammered dulcimer, common in Celtic, Appalachian, and world music ensembles at folk festivals. It has dozens of metal strings stretched over a soundboard, producing a bright, shimmering sound. Capturing this instrument requires careful mic placement:
– A stereo pair of small-diaphragm condensers is a popular choice to cover the dulcimer’s wide range. Typically, one mic is aimed at the bass bridge section and another at the treble side, giving a blended stereo image. If the festival stage is loud, use cardioid or hypercardioid patterns to minimize bleed from other instruments. These mics can be on boom stands, positioned about 30–45 cm (1–1.5 feet) above the instrument, angled down. This height picks up the instrument’s sound evenly and allows the player room to swing their mallets without hitting the mics.
– In scenarios where stage volume is very high or feedback is a big concern (for example, an outdoor festival with monitors blasting), consider adding contact pickups on the dulcimer. Many hammered dulcimer players use piezo pickup strips or stick-on pickups near the bridges. If the artist’s dulcimer has these, take their output via a DI to complement the mics. The pickup will provide steady, feedback-resistant sound for the fundamental tones, while the mics capture the resonance and stereo spread. Blending them at FOH can result in a natural yet reliable sound.
– For a smaller mountain dulcimer (lap dulcimer), a single clip-on mic or an installed pickup is often sufficient due to its guitar-like size and lower volume. If a mountain dulcimer is on stage, treat it somewhat like an acoustic guitar: a small condenser pointed at the sound hole or an attached pickup to a DI, plus a little mic for ambience if needed. Mountain dulcimers usually aren’t as loud or resonant as the hammered type, so feedback is less of an issue – but they often accompany singing, so ensure a balanced mix.
Managing resonance and noise: The hammered dulcimer, by design, has long sustain and lots of sympathetic resonance between its many strings. This is musically beautiful but can cause muddy sound or feedback when amplified. During soundcheck, have the player strike and then mute the strings to see how long the sustain lasts over the PA. If it’s causing a wash that buries other instruments, you might gently reduce certain ringing frequencies with EQ (often, a hammered dulcimer’s brightest ring is in the upper midrange, which can be softened a touch without killing the sparkle). Also, check the instrument’s stand and surroundings – these dulcimers sit on a stand that can vibrate. If the stage has heavy bass (like drums or amps pounding vibrations through the riser), that can transfer into the dulcimer and its mics. Use foam padding under the dulcimer’s feet or stand legs to isolate it from stage thumps. This prevents a thumping kick drum from resonating the dulcimer’s soundboard, for example.
Additionally, mind the mechanical noise of the performance itself: the mallet hits are percussive. Normally that hit is part of the sound, but if a mic is too close it might capture an overly harsh attack noise. Finding the sweet spot height (as mentioned, ~0.5 meter above) usually balances attack and tone. Also, ensure the mics or pickups are very securely mounted – a loose clip or stand will bounce with each hammer stroke, possibly causing rattling noises or a shifting sound image. Gaffer-tape cables down so they won’t jostle.
Instrument care: Hammered dulcimers have many metal strings under tension. Spare strings (in various gauges) should be on hand, though it’s impractical to replace dozens of strings quickly. Fortunately, string breakage mid-set is rare; more often, a string might snap during tuning or transport. The key is to have the common gauges ready (festival producers can liaise with the musician to know what string types they use – e.g., plain steel or wound bronze wires of certain diameters). Quick tip: if a string breaks during a performance, the musician can often continue on other strings; but at multi-day festivals, having a luthier or instrument repair tech available day-of-show can be a godsend to replace and retune the string before the next appearance.
Like other wooden instruments, dulcimers react to weather. High humidity can loosen the soundboard glue or dull the tone; extreme dryness can cause wood cracks or sudden detuning. For outdoor folk festivals in places like Australia or Mexico where midday sun is intense, try to keep the dulcimer in shade or indoors until the set. Provide a soft cover or let the artist leave the instrument in a hospitality tent to avoid direct sun. If the festival is in a cold climate (like a winter folk festival in Germany), make sure the instrument isn’t moved straight from a heated room to a freezing stage without acclimatization – rapid temperature shifts wreak havoc on tuning. A few minutes of acclimation and a last-minute tuning check will save everyone headaches.
Brief the Sound Engineers: Cultural Context & Playing Styles
Technical setup aside, an experienced festival producer knows the importance of briefing the sound engineers and crew on what to expect from these unique instruments. Many audio engineers may never have mixed a hurdy-gurdy or kora before, so giving them context ensures they approach the task with respect and knowledge:
– Explain the instrument’s role in the music. For instance, highlight that the hurdy-gurdy provides melody and rhythm simultaneously – it’s often the backbone of a folk band’s sound, not just a quirky background instrument. The nyckelharpa might carry the lead melody like a fiddle would in Swedish tunes. The kora might be accompanying a singer with intricate patterns that must be heard clearly. When engineers know an instrument’s musical importance, they will mix it appropriately (e.g. bringing it forward during solos, or EQ’ing to carve out space for it).
– Demonstrate the expected sound if possible. If you have a reference recording of the artist or a similar act, play a short excerpt for the audio team. For example, showing an engineer a recording of a well-amplified kora performance can quickly educate them on the tonal balance (rich bass, crisp highs, and overall mellow character). Similarly, demonstrate how a nyckelharpa’s sympathetic ring should sound – lush but not feedback-prone – so they know the goal.
– Discuss playing technique. Each of these instruments has unique playing styles that affect mic strategy. Inform the crew if the hurdy-gurdy player tends to dance or roam around the stage (some do, especially in folk-rock fusion acts) – in that case a wireless clip-on mic or ample mic cable slack is needed. If the kora player is a traditional griot, they will likely remain seated and may engage the audience with storytelling; ensure a vocal mic is set up to accommodate any spoken introductions or singing. A hammered dulcimer player might switch between fast reels and slow airs – the engineer should be ready to adjust reverb or levels between a high-energy, percussive tune and a soft, sustain-heavy ballad.
– Cultural sensitivity goes a long way. Brief the staff that these instruments often carry cultural significance. For example, the kora is a hereditary instrument in West Africa, treated with great respect – handling it carelessly or placing drinks near it would be highly inappropriate. Encourage stage crew to ask the musician the proper way to handle or move their instrument if needed (many prefer to handle it themselves). Understanding that the nyckelharpa has centuries of Swedish tradition behind it, or that the hurdy-gurdy has deep roots in European folk, can instill a sense of pride in helping deliver its sound authentically. This might even mean the engineer chooses a more natural, acoustic sound approach rather than heavily processing it, to honor the traditional vibe.
– Communication during soundcheck. Advise your engineers to take a collaborative approach: ask the musician “Are you hearing everything okay?”, “Do you need more of your instrument in the monitor?”, or “Is the mic placement comfortable for you?”. Many players of these instruments have personal tricks and preferences for amplification – some kora players might say “please add reverb, it makes it sound like outdoors back home,” or a nyckelharpa player might warn “if I play that low C string too hard it booms, help me control it.” These insights are invaluable. Make sure there’s no language barrier issue; if the artist doesn’t speak the local language well (quite possible with international acts), have a translator or the artist’s liaison present to convey instructions accurately.
Document & Build Your Tech Bible
After the show, one of the best habits of a seasoned festival producer or technical director is to document everything learned. Unusual instruments offer a prime opportunity to expand your festival’s “tech bible” – a repository of technical notes, settings, and experiences that can be referenced in the future:
– Encourage your audio team to write down the microphone setups that worked (e.g. “Used DPA 4099 clip-on on hurdy-gurdy – placed on soundboard bass side, blended with LR Baggs pickup via DI. Result: good tone after cutting 200 Hz drone resonance.”). Such specifics will save time when a similar act comes along.
– Note any feedback frequencies or EQ tweaks needed. If you discovered, for instance, that the nyckelharpa tended to feed back around 250 Hz due to its body resonance, put that in the notes. Next time a nyckelharpa is on stage, the engineer can preemptively ring out around that frequency.
– Record the stage layout and monitor preferences. Perhaps the kora player insisted on only one monitor mix with mostly their vocal and kora – note that down with the performer’s name. If they return to your festival or if another kora artist plays, you’ll know typical monitor needs for that instrument. Similarly, if a hammered dulcimer player was comfortable with an overhead mic but wanted no monitor directly facing the instrument (to avoid resonance), capture that info.
– Add cultural or artist-specific notes: “Artist X from Senegal preferred warming the kora skin near a lamp – be prepared with a heat source,” or “Swedish band’s nyckelharpa player stands on audience left, needed extra slack on mic cable to move about.” These details might seem small but profoundly impact smooth production when remembered.
– Share these findings with the broader team. Have a short debrief after the festival where engineers and stage crews can voice what they learned handling these instruments. Update your digital documentation or physical binder accordingly. Over years, you’ll accumulate a goldmine of folk instrument production wisdom. This not only improves your festival’s reputation among artists (word gets around that your crew “really knows how to handle a kora or hurdy-gurdy”) but also educates the next generation of techs and producers.
Key Takeaways
- Tailor the Mic to the Instrument: Unusual instruments need specialized mic solutions – use clip-on mics for mobility (hurdy-gurdy, nyckelharpa), hypercardioid condensers for isolation (all instruments on loud stages), and direct inputs for stability (kora pickups, dulcimer contact mics). Often a hybrid approach (mic + pickup) yields the best sound.
- Check for Noise and Resonance: Always soundcheck for mechanical noises (cranks, key clicks, hammer thumps) and sympathetic resonance. Apply creative fixes: reposition mics, use filters or dampers, and control monitor levels to nix feedback while preserving the instrument’s character.
- Be Prepared with Spares and Climate Control: These folk instruments have many strings and organic materials. Stock up on spare strings (they’re often rare gauges – coordinate with artists) and be mindful of weather. Guard instruments from extreme humidity or heat, and assist artists with climate-related adjustments (shade, heaters, dehumidifiers as needed). Quick access to repair tools and a stable tuning environment can save a performance.
- Educate and Communicate with Your Crew: Brief your sound engineers and stage team about each instrument’s cultural background and musical role. An informed crew will mix and handle the instruments with appropriate care, ensuring the artist’s intent shines through. Open communication during setup and soundcheck builds trust and leads to a better mix.
- Document for Next Time: Treat each encounter with an unusual instrument as a learning opportunity. Record the successful techniques and pitfalls in a tech binder or digital log. Those notes will become your festival’s audio bible, letting future productions hit the ground running when another nyckelharpa or kora graces your stage.
25th August 2025