Amps, PAs, cables, guitar pedals, preamps, power supplies, loopers…

Is your head spinning yet? 

If you’re like most harpists new to the world of electronics, you may feel overwhelmed at the sheer amount of choices available and breadth of things to learn. We have put together a series of guides to help you make sense of it all and get you on your way to being a harp rockstar!

Disclaimer: We do not accept commissions or other forms of payment for our brand recommendations. We truly stand behind all of our statements and strongly believe in providing unbiased, unincentivized information.

INTRODUCTION

“What amp should I get?” is one of the most common questions we get asked. Even though it seems straightforward, the answer is actually quite complicated.

Amplifying an electric harp is different from amplifying other instruments. Harpists need to consider the unique tonal qualities and frequency range of their instrument. Whether you want a natural, acoustic sound or something more experimental, the right amp can make all the difference.   

 

THREE CONSIDERATIONS

1. TONE 

Amps play a major part on how your instrument will sound. Every amp has a unique tone, so musicians choose them carefully with that in mind.

• Natural Sound: If you want your harp to sound as close to its acoustic counterpart as possible, look for amps known for their clean sound.
• Creative Effects: For a more electric guitar-like or unique sound, consider amps with built-in effects, compatibility with pedals, and/or natural coloration.

2. VOLUME AND SOUND QUALITY

Will you use your amp for practice or professional gigs?

What's the typical size of your gigs?

The power of amps is usually expressed by manufacturers in wattage (W), which is a rough indicator of how loud an amp can be and the sound quality that can be achieved. Even though this is a simplification, it is a good place to start when beginning your amp journey. Typically higher volume and sound quality comes at a higher price.

A simple guideline for wattage:

• Practice: Lower wattage (5-25 watts) for home use.
• Gigs: Higher wattage (30-100+ watts) for stage performances.
  

We will explore this topic more in-depth later in this blog.

3. PORTABILITY AND FEATURES

Consider where you will use your amp:

• Stationary Use: If your amp will stay in one location, size and weight are less of a concern.
• Travel and Busking: Battery-powered amps with built-in effects are perfect for travel and busking but may compromise on versatility, volume and sound quality.
  

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1. ON TONE - TYPES OF AMPS

Amps come in several types to suit musicians’ needs and budget. They each have their own mechanism of action. We will discuss tube amps, solid-state amps, PAs, and some notable variations that are especially useful for electric harp.

 

TUBE AMPS

Besides their signature warm tone, tube amps are known for their dynamic response. They will perform differently depending on how high the gain is and how loud you play, unlike modern-style amps. It is like having a natural compressor. Your playing will be more dynamic (as in, more range in volume) if you play softer versus louder.

Cranking the volume will create a smooth, warm distortion that is a great fit for genres such as blues. A common opinion amongst people who use tube amps is that the higher you crank it, the better it sounds due to that distortion. These amps also tend to get louder than other types.

If you enjoy tinkering with electronics, you can open up these amps and use different types of tubes to fine tune your sound.

Pros:

• Warm sound coloration. This is the tube amp’s bread and butter. Many tone-purists swear by tube amps alone and refuse to work with anything else.
• Dynamic response. The amp adapts to your playing in real time, providing natural compression.
• Natural distortion. They provide natural distortion with cranking the volume, no pedals required.

Cons:

• They are expensive. These amps will cost you a pretty penny with a common starting price of $500 and can go up to several thousand.
• They are fragile. The internal glass tubes are fragile. Rough handling of the amp can cause the tubes to get damaged.
• They are bulky. These amps are bigger and heavier than their counterparts; not practical for travel or small gigs.
• Maintenance. The tubes have a lifespan, so they will eventually need to be replaced. This type of maintenance is not needed for other types of amps and can be quite the hassle if you don’t know what you’re doing.
• Not great at low volumes. This amp is not a good fit for practice at home or small gigs.

 

SOLID-STATE AMPS

Unlike tube amps, solid-state amps use electronic components to process and amplify sounds. Since they don’t have tubes, their sound is cleaner and more natural. There is no difference between loud and soft playing, the amp will react the same.

The lack of internal tubes also make these amps less fragile, require much less maintenance (no tubes to replace), and weigh significantly less, making it perfect for beginners who just want a reliable amp with no frills. Some solid-state amps allow wireless use and bluetooth compatibility, adding to its versatile nature. The cost is also significantly lower, a huge plus for many. Your standard practice, entry level, and portable amp will be a solid state.

Pros:

• Lower cost. This is a big pro for the harpist on a budget!
• Low maintenance. No need to worry about replacing parts.
• No pedals? No problem. Many come with built-in FX.

Cons:

• Sound quality. Lower end solid-state amps tend to have poorer sound quality compared to their tube counterparts. However, the quality gap closes the higher you go in price.
• Less dynamic. These amps do not have natural compression. If you want that, you will need to get a compressor pedal.
  
  
  

POPULAR AMP BRANDS

Brands like Fender and Marshall are extraordinarily popular for all types of musicians and each have their own distinct sound. Brands like Boss and Bose offer quality choices like the Boss Katana series that works well with the harp's sound.

 

VARIATION: HYBRID AMPS

These amps are a blend of solid state and tube. The signal is processed with an internal tube to provide that signature warmth and then amplified using solid state technology for added clarity. This allows you to have access to a bit of that tube sound without shelling out a lot of money.

Since there are less tubes and they are used less, the tube doesn’t need replacing nearly as much. Less tubes also means less weight and size, great for those overwhelmed with the bulkiness of tube amps. This amp also combines the durability of a solid-state so you won’t have to worry too much whenever you transport it.

VARIATION: BASS AMPS

A common recommendation we hear for harpists is bass amps. Just like guitar amps, they can come in tube, solid-state, or hybrid flavors (although the majority are solid-state).

Guitar vs. Bass Amp

Let’s discuss the differences. First, bass amps require much more wattage than a guitar amp. Guitar amps go to an average maximum of 100 watts, even for the loudest setups. Bass amps go from 100-700+ watts. They need higher wattage since lower frequencies require more power to reproduce.

Due to this requirement, the physical construction of a bass amp has to be different. Bass amps have much larger speakers on average. Another reason for the larger speaker is to adequately play lower frequencies.

Tone Differences

Since the amp is made for, well, bass, its frequency response is focused on the low to mid range. This is great for adding that bassy meat a lot of harpists are looking for in their tone. Many guitar amps miss those lower frequencies. On the other hand, since the frequency response does not go as high as a guitar, you may lose some of the sparkly high frequencies that we associate with harp. Lastly, the tone of bass amps tends to be cleaner and more natural than a guitar amp.

Pros:

• Adds bass. An obvious one but needs to be stated, many guitar amps make harps sound thin.
• Little to no coloration. Unlike your average guitar amp, bass amps sound more natural.

Cons:

• Big and heavy. Since bass amps have larger speakers, they tend to be quite heavy and hard to transport.
• Not great with higher frequencies. They don’t replicate higher harp notes well.

 

VARIATION: ACOUSTIC AMP

Not a different type of amp, but a useful variation for traditional harpists. These types of amps are typically solid-state and aim at amplifying acoustic instruments with a wide frequency range. They provide a natural sound with no coloration for instruments like acoustic guitars, strings, pianos, and, well, harps. These amps have good EQ controls and multiple input channels - like a super-compact PA (more on PAs below). Many come with simple built-in effects like Reverb and Chorus.

Acoustic Amp Recommendations:

Some acoustic amp brands that work well with electric harps are AER, Roland, and Acus. From those brands, we have tested the AER Domino series and the Acus OneForStrings series on Harp·E.

The AER Domino series amps are at the pricey end, but they work remarkably well with harp and come packed with features, making them like an ultra-portable PA-system. 

The Acus OneForStrings series was tested to great satisfaction. They’re widely noted for being excellent with harps and bowed strings of all kinds. Also on the pricey end, but the way it makes the harp sound makes it worth it.

We haven’t tested Roland, but their amps are widely considered decent value for money and good for harps, notably the Roland Cube.

PA SYSTEM

While not proper amps, PA systems are worth mentioning as many harpists tend to opt for these instead. Even though they both amplify sound, both PAs and amps serve different purposes.

PA system stands for Public Address System. A PA is the final stage of the amplification process. If you see a live concert, all the amps on stage will be miced up and amplified together by a stereo PA system usually located at either side of the stage. Harp·E, like the Delta harp, has a powerful preamp built in, which means it can go directly into a PA and without needing any amplification stages in between.

PAs have to cover a wide range of frequencies to accurately represent any sound run through it - be it electric guitar, bass, vocals, keyboard, etc. PAs achieve this by having a flat, wide frequency response, which allows a natural representation of the sound. A typical amp, on the other hand, is made to recreate and color the specific limited frequencies of a guitar. Due to this, harpists often run into trouble finding the perfect amp that replays the full spectrum of their harp’s sound without unwanted coloration.

PAs also have the advantage of amplifying sound across a wider area. If you perform with a band, they provide you the ability to connect multiple inputs and balance them together - another advantage over an amp. PAs also tend to have more fine tuned sound controls (what we call an EQ, short for equalizer). This is a plus for those familiar with EQing and mixing.

In our experience, most employees at music stores will recommend a PA for harps of any kind. 

Pros:

• Will make your harp sound like a harp. PAs are for accurately portraying an instrument’s sound. The frequency response is very wide and flat.
• Bigger reach. Great for large venues.
• Multiple inputs. If you perform with a band or sing with your instrument, you can connect to the single speaker and balance each signal.

Cons:

• They are expensive. This choice is not for the harpist on a budget. A good PA system typically starts around $500 and goes up to several thousand.
• Clunky and involved setup. If you are limited on transportation space, PA systems may not be a good choice. Many PAs are huge, have multiple parts to carry, and are cumbersome. Of course, this is not a universal rule. Portable all-in-1 PAs do exist and are among professional harpists' favorites.
  
  
  

VARIATION: ACTIVE PA SPEAKER

Instead a whole PA system, a single good quality active PA speaker is another fantastic choice for harpists. These types of speakers don't have many extra settings, but will still typically provide one or two inputs, volume control, and sometimes EQ. All the benefits of a typical PA system still apply, minus the transportation downsides.

PA Speaker recommendations:
Some good brands for electric harps (with active, native preamps like the Harp·E and Delta harp) are Yamaha, Mackie, and Bose. We’ve tested the Yamaha DBR10 and the Mackie SRM150 and both provide a beautiful, clear sound and excellent frequency response.

We have not tested Bose, but have heard great reviews from harpists using the Bose S1 Pro. This speaker has wireless functionality and good EQ controls.

 

2. ON VOLUME AND SOUND QUALITY

CHOOSE A COMFORTABLE WATTAGE

Amps sound best with the volume raised halfway. Using a huge amp at its minimum volume or a tiny amp at its maximum volume both won’t sound optimal. Before selecting an amp, be sure what volume range you need. Wattage is a rudimentary but easy indicator of volume range. If you can suffer the additional cost and weight, more wattage generally won’t hurt, because your amp will have more “headroom” for peaks and is likely to give a better frequency response.

BUT DON'T GET TOO HUNG UP ON IT

Wattage is by no means the only determining factor for perceived loudness and sound quality.

When it comes to loudness, wattage is a one-dimensional, linear scale. The human ear simply doesn’t work like that. The ratio between the lowest and highest volume the human ear can deal with is around a trillion. That’s why in acoustics, usually the logarithmic decibel (dB) scale is used. Because wattage is linear, a note playing through a 100W amp sounds, at most, twice as loud as through a 10W amp, all other things equal.

In addition, a healthy human ear can hear frequencies between 20-20kHz, but the dB level required for the same perceived loudness is different across the frequency spectrum. At frequencies below 300 Hz, our ears’ sensitivity drops fast, so a lot more dB is required for the same loudness. This range is where the lower octaves of a harp live. The frequency response curve of an amp’s speakers relative to the perceived loudness curves of the human ear (expressed in “phon”) will give you a fuller picture of how loud the amp will sound at different frequencies.

As for sound quality - this comes down to the percentage of harmonic distortion (THD: Total Harmonic Distortion) of the sound at the volume and frequencies you’re playing at. This is not captured in wattage, but in the detailed amp specs. Manufacturers can state the THD for a certain frequency or range at a specific W or dB level. As mentioned, at lower frequencies, the human ear needs more W or dB for the same loudness, so distortion at the lower end will quickly add up.

This is all probably starting to sound really complicated, and unfortunately this is only the tip of the iceberg. To make matters worse - even if you were to get your head around all the details, comparing specs between different manufacturers is tricky due to ambiguous standards and often incomplete or optimistic representations.

RULES OF THUMB AND HOW TO COMPARE

As a rule of thumb, 5-25W is a good range for home practice and 30-100W+ for the stage. Although keep in mind that, for reasons explained above, the difference between an 80W and a 100W amp is marginal and not worth compromising cost or weight over.

For sound quality, it's good to have some wattage “headroom” (space between your playing level and the max level) at the volume you’re playing. But equally - if not more - important is the size and frequency response of the speakers, the component quality, and housing material used.

To accurately compare brand specs, you would need significantly more knowledge than what we can fit in this blog. However, it is easier to compare some different models from the same brands as they will typically state the specs consistently between their own models.

Now that we’ve scratched the surface on volume and sound quality, here are some things to look out for:

• Minimal distortion. Distortion is represented in %THD. A lower percentage is better, but it matters at which frequencies, see the next point.
• Wide frequency range. The Harp·E strings range from around 130Hz-1.4kHz, so that is the core frequency range to look out for. However, if you want to use an octaver pedal to extend the range an octave down (half the frequency - 65Hz), it may be wise to include that range in your amp search. Additionally, what makes harps sound rich are the harmonic frequencies, so it is good to include at least one or two octaves up as well (double the frequencies per octave up: 2.8kHz, 5.6kHz, etc).
• Good frequency response. If there is any information available on this, look for a frequency response curve that follows the sensitivity of the human ear as much as possible for your chosen frequency range. Ideally, below 300 Hz the dB levels should go up, and above 300 Hz it should stay fairly flat.

Another rule of thumb - when it comes to sound quality, you unfortunately get what you pay for usually. A cheaper brand might boast a higher wattage, but if comparing the other specs is difficult, it is safe to bet that the sound quality and perceived volume is likely lower than a trusted brand.

 

3. ON PORTABILITY AND FEATURES

PORTABILITY

To reiterate, all the amps mentioned above come in different degrees of portability. For the traveling musician and/or busker, it makes sense to get a battery powered amp. Now that we discussed the basics of volume and sound quality, you will be able to better assess if a battery powered amp still meets your requirements.

A typical musician will want to have a fairly portable powered amp as their main amp. The fuller the sound, the heavier it will be - how much are you willing/able to carry?

CONTROLS, CHANNELS, AND CONNECTIVITY

The more controls you have, the more you can tweak. Here are some examples of features you may find in different amps:

Input channels: Having more channels can be great if you play more instruments or are performing with a group.
Aux input: Great for playing along with external tracks.
EQ: Typically has three dials: low, mid, and high. These dials control how loud a range of frequencies are, allowing you to fine-tune your amp to your instrument’s sound and/or surroundings. A parametric EQ will allow you to control specific frequencies, an advanced feature that can help deal with resonant frequencies and/or interference.
Bluetooth: Allows the amp to turn into a giant bluetooth speaker.
Remote controls: Some amps have the ability to control or automate features via mobile apps.
FX Loop: Ability to place pedals after the preamp stage of the signal chain. This is an advanced feature.
DI Output: A balanced output for stage and studio which will make sound engineers happy.
Wireless: Provides cable-free stage playing. If you want a wireless amp, make sure to choose a high-quality one, which comes at a price tag. The lower end ones tend to suffer from latency and sound quality loss. For wireless connections reliable enough to use in large live performances, you'll need equipment beyond most budgets.

When choosing an amp, ask yourself how many features you will truly need.

BUILT-IN EFFECTS

Built-in effects offer less flexibility and quality than individual effect pedals, but they can save you work, hassle, and equipment space.

Reverb and delay are a harpists' favorite effects, and for great reasons. They make harps sound even more magical than they already are. For this reason, they are wonderful to have built into an amp.

Other common built-in effects include distortion and amp modeling (recreating the sound of classic amps).

We will dive into the different types of effects and what they do in a future blog, so stay tuned!

 

CONCLUSION

As you can see, there is a world of options. There's no one-size-fits-all answer when it comes to choosing the best amp. Many musicians own multiple to have one for every need (for the stage, for travel, and for practice).

Before making a purchase, we recommend visiting your local music store with your harp to test out different amps. Play in various styles with the full range of the harp to hear how each amp responds to various genres and its full frequency range. Ultimately, the most important thing is that you like how the amp sounds, not the individual specs. Don’t be shy, walking in with a harp will make their day!

To connect your harp (or any instrument) to an amp or PA, just use any quarter-inch cable. Music stores have plenty to go around. Make sure to use angled plugs for Harp·E.

We hope this guide serves as a helpful starting point in your journey to find the perfect amp for your harp!