Based on the inspiration from a select group of professional players and modeled after the sound of legendary vintage harp microphones.
An exciting collaboration between HOHNER and sE Electronics
Modeled after the sound of legendary vintage harp microphones
Comfortable to hold, cup, and use for long periods of time
Volume control utilizing a Bourns® potentiometer and a diamond-pattern knurled chrome knob
High output level and high impedance drives amps properly
Suited to the needs of touring professionals
The perfect mic design to inspire an artist's creative output
Inside the HB52
Compact size. Big sound. Easy to use.
Perfectly sized for easy cupping and handling, the highly reactive capsule responds directly to your hand technique and your musical expression. Moreover, the Harp Blaster HB52 was designed with input from professional harp players to ensure we answered the needs of artists worldwide. Together, HOHNER and sE chased down creating a state-of-the-art product that will satisfy the most discerning harmonica & blues harp player.
Boutique features meet state-of-the-art manufacturing
The HB52 features a volume control utilizing a Bourns® potentiometer and a diamond-pattern knurled chrome knob, making it slip-proof and reliable. If you’d prefer not to have a volume control, it can be disabled internally. The high output level and high impedance will drive your amp properly without the need for any impedance converters, boost pedals or stomp boxes.
Vintage sound paired with modern precision
Modeled after the sound of legendary vintage harp microphones, the Harp Blaster HB52 sets a new standard. Designed as the perfect channel for the artist’s creative output, it’s comfortable to hold, cup, and use for long periods of time so the music can flow unhindered and achieve maximum sonority and expression.
The heart of the Harp Blaster: the capsule
Combining sE’s experience in dynamic capsules and acoustic design with HOHNER’s unrivaled competence in harmonicas for more than 160 years, the Harp Blaster meets the highest expectations of performing musicians and demanding sound engineers. Instead of looking at competing products to sculpt the Harp Blaster’s sound, we took our inspiration from a select group of professional players.
Robust all-metal housing
In the throes of performing, you can drop it, kick it, and/or drive nails with it. The HB52 is built to be a roadworthy tool. Just do us a favor and don’t submerge it in boiling water, or anything similarly ridiculous. Barring that, it should last a lifetime!
Gold-plated XLR connector
We opted to use an XLR jack, as opposed to an attached cable, a 1/4” jack or a screw-on connector, to avoid a common Achilles’ heel among harmonica microphones. An XLR jack provides better connectivity, that won’t become noisy or fussy over time with an internal locking mechanism for total signal security (see the HB52 manual below to easily disable the XLR locking mechanism if preferred).
We generally recommend keeping your microphone in its case or original packaging when it is not in use for more than a few hours. If your studio is very clean and safe, it could be OK to leave out on its mic stand when not in use, but if a mic is out of its case, it could potentially be exposed to dust, smoke, moisture, or humidity – which can damage the sensitive parts of the mic – so we recommend avoiding those things at all cost.
If your microphone has come in contact with dirt or another removable substance, we recommend cleaning it with a very soft, slightly damp cotton cloth. Do not open the microphone up to clean the inside, and make sure you NEVER touch the capsule itself. Cleaning a capsule should only be done by highly trained professionals in a “clean room” environment. If you suspect your capsule needs to be cleaned, please contact [email protected] so we can recommend an authorized local technician.
For the most part, sE mics can tolerate extremely high SPLs (typically over 135dB) and will be fine in front of even the loudest sources – yes, even our ribbon mics. If in doubt, you can check the specifications on the individual product page.
You’ll need some sort of audio interface to do this – essentially, a box that converts an analog signal into a digital one, and sends the digital signal to your computer software in a way that your computer can understand. Some audio interfaces also include microphone preamplifiers, which raise the signal level from “mic level” to “line level” – if you are using an interface with no built-in preamp, you’ll need to plug the mic into a separate mic preamp first.