Working Sound Reinforcement In The Wonderful World Of Celtic Music

But it was immediately evident that this music is predominately acoustic… except for the wailing rock bands.

The review of our work at the end of the festival was immediate. We were hired for the next year, to do all four stages.

In fact, we’ve regularly added new Celtic festivals in the region.

The musicians within the Celtic community are a tight-knit group and word gets around quickly which festivals have “the good sound.”

The festival coordinators really care what the music sounds like because, unlike most run-of-the-mill festivals, the public comes specifically to hear the music and they have a critical ear. They actually sit in chairs and listen.

And more than once, I’ve seen them confront the boisterous Guinness drinkers and tell them to move on or shut up.

This community is becoming aware that they don’t have to put up with inappropriate sound for their festivals.

It is amazing how many musicians have complimented us by saying, “Thank you for not mixing us like a rock band.” That is the prime key to successfully providing production for one of these events.

Issac Alderson and Eileen Ivers jam out in a duet of Uillean Pipes and fiddle. (click to enlarge)

Flutes, mandolins, concertinas, violins and the like have to be treated with artistic finesse, because that’s the way these musicians approach their craft.

Don’t get me wrong – there’s plenty of room for rock ‘n’ roll – and I’ll get there in a bit.

Several things have struck me since we’ve been working in this market.

First, we never (and I actually mean that) encounter ‘wannabees’ on our stages. No matter which festival we’re working, every artist on every stage is proficient. I can’t say that in any other genre in which we work. The level of artistry is superb.

In fact, I have determined that the best fiddle players in the world are women in the Celtic market. We work with excellent fiddle players every week of the year in our regular gigs, but we are continually amazed at the female fiddle players we encounter at the Celtic festivals. Check out Eileen Ivers, Natalie McMasters or Bonnie Rideout for examples.

Second, you will encounter every instrument you can think of, and a few you’ve never even imagined. There’s room for everything in the Celtic scene, including every bluegrass instrument and a profusion of percussion – particularly the bodhran, or Irish hand drum – hurdy gurdys, six or seven different styles of accordion, and even Australian didgeridoos, as well as dozens of stringed instruments of various descriptions.

Even on the smaller festivals, I will typically fill my 40 input channels and usually double or triple up the instruments on them. Then guess what; one musician may play upwards of three of four instruments, changing from fiddle to bouzouki or bodhran in mid song – and maybe back again!