Moonsville Collective
“Wanted to reach out to share just how much we are loving these microphones. We recently brought them to a mid-sized outdoor venue, with some 500 people in attendance, multiple speakers down a long lawn etc. The production crew looked at me like we were crazy, until 3 minutes into sound check when everyone began tripping out on how wonderful they were performing on the large system. The sound guy was so stoked on them, and the whole crew was asking me about the microphones, where to purchase them etc.”
–Moonsville Collective
Bobbo Byrnes
“I was skeptical about this mic. Like is it just a LDC packaged all pretty and vintage? Then I used it and tried it against other LDC. This is different. It thrives in the live environment. I was set up with one at a folk festival stage and was like - Okay, this is cool - and then I got my own and have been using it for my book/music tour. One mic for talking and singing/strumming. It's just me - louder. I love how easily I can control my dynamics as if I am busking.”
–Bobbo Byrnes
Caleb Morris
“I can put this mic on and know it’s doing 95 percent of the work for me. When it gets to the console, there’s very little corrective work that I have to do and I can focus on making things fit or adding color or flavor. The off-axis rejection is absolutely incredible; its a large-diaphragm condenser, and there are often times that I can get more gain out of that than I can out of a 58… It doesn’t matter what application we’re using them on; their mics sound absolutely incredible.”
–Caleb Morris
FOH Engineer for Andra Day
Milk Carton Kids
Brad Meinerding
T Sisters
Bryan Sutton
"When we use a single mic and no monitors, we listen to each other’s note choices acoustically, and react based on the organic thing happening onstage. It’s also just more fun... It’s a production technique that gets overlooked—playing music for and with people instead of at people. The Edwina is a very useable tool for this approach."
— Bryan Sutton
Hot Rize
Saintseneca
“I love the warmth and clarity of these microphones. Their resistance to feedback is really remarkable. Whether we’re playing a noisy club, a basement, or outdoors on a large stage these mics have performed wonderfully. We’ve used the same mic technique with other condensers, but once we upgraded to Ear Trumpet Labs mics there was no comparison.”
— Zac Little, Saintseneca
Joe Smothers
Brock Tyler
“Just circling back to tell you how much I like your Edwina mic, which I've had for a couple months now. It's so refreshing to have a natural sounding mic that just plain works and lets me focus on the music, not the gear. You've really made something special and it's making my studio time easier and more fun. Thanks again!”
—Brock Tyler, Calgary
Ben Wigler
“Really, stepping behind an Edwina is a whole other realm of vocal rig… it’s as night-and-day a difference as it can get from a 58, and we’ve been shocked at how perfectly it’s been holding up with a very loud stage volume and some manhandling. I’ve had the chance to use the Edwina in the studio and I’m just in love with this mic – it has such a pleasant sound and projects such a cool vibe, it makes getting killer takes a breeze.”
— Ben Wigler, Brooklyn, NY
Joe Henry
Don Gunn
“I have a pair of ETL Edwinas and they are excellent sounding and extremely versatile mics. What I love best about them is that they don’t sound like any of the other mics I own – I don’t need more of the same, so to have them sound different and be so useable and flexible is fantastic.”
— Don Gunn, recording engineer, Seattle, WA
Scott Nelson
“Edwina is all I could have ever hoped for in a live microphone. Our performances have been taken to a different level entirely… I used her for vocals, guitar, mandolin, banjo, dobro, fiddle, and percussion to run her through the paces. She performed unbelievably. I was able to attain a gain structure I had never been able to get out of any other large diaphragm condenser... I am a believer.”
— Scott Nelson, Flatland Harmony Experiment
Della Mae
Caleb Klauder
“We used Edwina in many different rooms… from a 400 seat concert theatre and then to a coffee house with the mains set behind the stage. I was amazed by the fact that we got a lot of volume without any feedback and the mains were behind the mic… the mic was definitely projecting the band. I really thought it was easy to use.”
— Caleb Klauder, Foghorn String Band
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