I spent a bit of time experimenting with microphones on this thing. I approached it differently in comparison to how I mic normal upright harps. How you see this Kora (African Harp) sitting is how it is played, on the lap with thumbs instead of fingers. As expected both Koras were within a scale, one in G major and the other F minor. I learnt that part of its sound actually comes from a piece of purpose shaped metal called a nyenmyemo that resonates from the bridge.
I noticed that one of the Koras was a bit more pillowy sounding and the other was more acerbic, unexpected as they were both seemingly identical and additionally had the same thickness cow hide over the body. In any case they were miced differently. A beyer 160 was in use over the hole and a 414 BULS pointing down the neck. I found an even amount of transient with this position whilst also still marrying well with the body source in regards to phase correlation and how sympathetic they were to eachother.