I’ve been playing a number of gigs recently where I needed to amplify my pipes, been using a Sennheiser small-diaphragm condensor stereo microphone as a point source for both the chanter and drones/regs, sounds good enough, but I think I could be much better with two dedicated mikes.
Eric Rigler, in an online article, says he uses a AKG 409 for the drones, and an AKG 535 for the chanters, both condensor mikes. Anyone else have suggestions for two mike live sound setups? Again, not for recording, but for live sound.
Guitar Center has a sale on condenser mics. 2 for $99. The MXL 990, and the MXL 991. These are recording mics, but I’ll warrant they’ll work just fine on stage.
He talks about a sax reed mic, plus an external mic on the chanter, and two drone mics there. I always thought the ultimate would be to have your own little stage mixer with lots of these small mics so you could control your own sound, and not leave it up to a stage tech, who would inevitably boost the bass drone out of proportion.
I would guess that Mr. Rigler may have such a setup. If you are going to mic the Uilleann Pipes, you’re gonna want to capture every tone and nuance these things produnce, and you’re gonna want to mix it right…my dream set up…that is…for the day I have the big brass kahunas to play them on stage…
Personally I would avoid mixers and complicated setups on stage, focus on the music and trust the sound tech. Tell him what you want!
The AKG C-391 condenser would be a good choice for pipes. Hypercardioid to reduce feedback, frequency optimized for woodwinds. And it sounds good. Just one for the chanter and one for regs & drones should do it. They might be a little pricey though. But it is a system with interchangeable pickups, so you might save something if you need more mic’s
For the last two years I use two Neumann KM 184 mics. From all the mics I tried during the 12 years I play amplified the KM 184 is absolutely the best.
For live gigs my band and I usually do our own sound. I’ve had the good fortune of working with some good sound techs also. However, one variable other than the type of mic, which can often get overlooked, is the PLACEMENT of the mic. I find most techs who are new to the pipes will want to place the microphone a couple of feet directly in front of the chanter. In many situations this can result in a barely audible Back D. (You might be considered lucky if they even give you a drone mic.)
I find the best placement is to have the mike situated on the upper side of the chanter, pointing down at an angle. That way the level of the Back D is at par with the other notes. This is a good position when playing small clubs with high ambient noise levels, or limited floor space. Another bonus is that when situated thus it picks up the regulators as well!
For the drones, to save space I use a detachable mic arm that clips onto the one mic stand that I use. This allows me to control the exact location of the drone mic. One big thing for the drones is to make sure that the air flow does not blow directly onto the mic! (This drives certain individuals nuts I have found ) Also, if working with a sound tech do make sure to tell them about the drone switch and that you can turn those suckers off.
I do gigs with a NSP player and recently have been looking at micing up.
He has a sort of hybrid set with a G chanter and an Uillean base drone, and an extra stock that used to contain a cylindrical bore regulator.
I got a Maplin tie clip mic (back electret) and dangled it in through the unused stock sealing the end with bluetac.
The sound was good with plenty of level and hardly any valve noise.
I don’t know how affective this would be for UPs but I think it’s worth experimenting with.
I envisage adding another small stock maybe at the back of the bag and attaching the Mic to a miniature Jack.
For on-stage performance, I use a single AKG C3000 , a directional 1" condensor mike that requires phantom power and I use it on a boom stand for ease of positioning as I play several different things in the band.
I place it so that it is above the end of the tenor drone and high enough and angled so that the back D of the chanter and the bass drone outlet is within the 180 degree pickup range.
I can hear the balance between the two because I sit next to the out-front speaker and can rotate slightly to get the proper sound.
For recording, I use two AKG C3000 mikes, one placed for the chanter on the left side, one placed for the drones on the right side for a stereo sound.
Here in Holland retail is ‘only’ $ 765 nevertheless it’s a lot of money. But it’s a good value for money because these Neumann’s will never loose their quality like other ‘cheaper’ condenser mics. I had a pair of AKG C3000 mics before the Neumann’s but after 4 years of use something changed in the frequency response. Our soundman explained to me why this happened but I forgot what it was. Had something to do with the membrane of a ‘real’ condenser mic and membrane that is charged I think.
And no, I’m not made out of money but whenever we do a lot of gigs in a row with the band we invest some of the fee in equipment. And the soundman decided that the pipes needed the Neumann’s and who am I to argue with the soundman
I bet with enough microphones and wires, you could look like a Borg!
I hope this doesn’t catch. I’d hate to see banjo and bodhran players start to get amplified too!
The Newmans or other large diaphragm mikes are the way to go if you can affort them. If not, i’d use a couple of cardioid microphones, one pointed at chanter from the front, the other pointed at the drones, from the back. I’d go with large diapraghm dynamic mikes like the Sennheiser SM4xx if i couldn’t afford the Newmans. You want something with a pretty flat response.
Glauber :" bet with enough microphones and wires, you could look like a Borg! I hope this doesn’t catch. I’d hate to see banjo and bodhran players start to get amplified too! "
Unfortunately, playing in a concert or pub venue, amplification is an unavoidable evil.
) Also, if working with a sound tech do make sure to tell them about the drone switch and that you can turn those suckers off.
but whenever we do a lot of gigs in a row with the band we invest some of the fee in equipment. And the soundman decided that the pipes needed the Neumann’s and who am I to argue with the soundman 
