For those that are not familiar with Ear Trumpet Labs, just so you know we these mics are truly something else, here are a couple of artists that use their microphones;
- - Elvis Castello
- - John Jorgenson
- - Jason Mraz
- Milk Carton Kids
And the list goes on and on! These microphones are not to be messed with, they are the real deal. You can have the greatest sounding voice or instrument in the world, but without a good microphone the audience still won't hear the difference.
Founded in Portland, Oregon in 2011, Ear Trumpet Labs is a craft builder of unique microphones for adventurous musicians and recordists. Combining technical expertise, the highest grade of hand selected electrical components and a sculptural aesthetic. The company is committed to a hand-built craft workshop approach to providing the best looking and sounding microphones.
Ear Trumpet Labs is the unholy offspring of a former software engineer with a habit of building audio gear. Having learned the arcane secrets of microphone construction from his betters, he set about finding the coolest looking, most unlikely components with which to make bodies for his babies. Emerging from the dark, he held before him the talismanic sound-art pieces that would light the path forward for a new workshop. In constant flux and experimentation, the microphones of Ear Trumpet Labs are all glimmering spots of distinctive light in a world of boring same-old.
All the microphones they build are condenser mics, which makes them extremely good for studio use (over the usual dynamic microphones). But, most artists don't shy away from using their Ear Trumpet Labs on stage!
Let's start discussing all the different models we have to offer, starting off with the Chantelle!
The Chantelle
The Chantelle was created to be the best available live vocal mic. She brings the clarity, warmth, and character of a large diaphragm capsule to a beautiful low-profile body ideal for close-micing. She has a smooth high end with no harshness and a very gentle upper-midrange emphasis. She also incorporates a full foam pop filter for great plosive protection. With exceptional feedback rejection, she can be used on even the loudest of stages.
This microphone also works great on acoustic instruments due to her warm and present tone.
The Edwina
Their (and our) most popular model, Edwina, is a versatile large-diaphragm condenser microphone with great sound to match her distinctive but not dominating looks. She is quite the same as the above mentioned Chantelle, but she is better in close-situation setups and adds a tiny bit more detail to the sound.
With meticulously tested, hand-wired electronic components, the Edwina is designed specifically for feedback rejection in demanding live settings. Her smooth, detailed sound excels at all kinds of stage duties, from vocals to acoustic instruments to drum overheads, and also shines in the studio as a warm, accurate recording mic. She is optimized as a single-source mic, but with a sweet spot from one out to 18 inches, she does great capturing voice and instrument together for solo or even two performers.
The Edwina is also available as a pair, which is widely preferred over buying two. The pair makes for an incredibly useful and flexible tool for all applications in the studio and on the stage. In stereo, they make ideal drum overheads and room mics. Use in x/y, spaced pair, or ORTF to capture beautiful stereo images of acoustic instruments or group performances. And, use the two for the perfect vocal and instrument mics for your next live performance.
The Nadine
Nadine is a medium-large diaphragm condenser mic specifically designed for use on upright basses. The low end is tuned to give a flat response at the mounting distance, and the cardioid pickup pattern provides very natural sound by picking up as much of the surface of the bass as possible, within the constraints of the close placement. There's great rejection off the back of the mic, allowing use with stage monitors.
Physically, the mic is separated into the body, which securely straps to the tailpiece with velcro elastic, and the head, which mounts easily between the strings above the tailpiece using a rubber grommet. The 14-inch Mogami cable that connects the two parts makes it easy to place the mic ideally on any bass. This mounting system makes Nadine both easy to move from instrument to instrument and secure enough to leave on one bass permanently. After years of being asked for a mic specifically designed to meet the needs of the acoustic upright player, we think they've found the best design yet for this demanding application.
The Edna
She's a small diaphragm side-address condenser microphone in a lollipop style housing made from plumbing flanges and stainless steel bolts. Acoustically very accurate, with a full, even frequency response, a neutral, natural character and a very smooth high end. Because of her clarity and fast transient response she excels with acoustic instruments, especially guitar, but also violin, mandolin, and cello. She compares very well with any high-quality SDC.
The Josephine
Large-diaphragm condenser microphone spring-suspended in a large, elegant copper ring. Tuned for live performance use, ideal for micing small acoustic ensembles. She has recently been redesigned with a smaller ring, making her more suitable for onstage usability.
Josephine has the clarity, gain, feedback resistance, and full, natural frequency response to change the game when it comes to live single-mic situations. She has a pleasing high end with no harshness, and a sound that performers, audiences, and engineers all describe as astonishingly natural. She can also bring that winning sound into the studio, capturing vocals and acoustic instruments with straightforward clarity.
The Evelyn
Evelyn is a stereo mic consisting of two closely matched large diaphragm capsules mounted in individually pivoting head baskets spaced at the correct distance for the ORTF stereo recording technique. Both the capsules and the JFET transistors for each side of the stereo pair are exactingly hand-matched for perfect stereo imaging. The electronics are hand-wired using the finest components, and the result is spectacularly natural stereo sound.
Evelyn makes an easy-to-deploy stereo drum overhead or room mic, but she is also adept at many applications beyond standard stereo miking. With her heritage from the acclaimed Ear Trumpet Labs Edwina, one of the finest live mics available, Evelyn makes an ideal live miking solution for acoustic ensembles from traditional bluegrass bands to string quartets, with great feedback control and off-pattern rejection.
Of course the striking design of Evelyn complements the stunning sound; everyone will be pleased to work with her, and on a live stage she looks distinctive and gorgeous. Our solid designs are hand made from copper plumbing pipe and fixtures, electrical flanges, brass, and stainless steel.
Each mic includes a standard 5-pin XLR to dual 3-pin XLR adapter cable, and the pinout is standard so other stereo cables can be used. Each Evelyn comes in a solid metal tool case with hand-cut foam lining.
The Louise
Large-diaphragm condenser microphone spring-suspended in a pivoting slim stainless steel ring. Tuned for live performance use, ideal for micing small acoustic ensembles. The new classic bluegrass mic.
Louise has the clarity, gain, feedback resistance, and full, natural frequency response to change the game when it comes to live single-mic situations. She has a pleasing high end with no harshness, and a sound that performers, audiences, and engineers all describe as astonishingly natural.
She can also bring that winning sound into the studio, capturing vocals and acoustic instruments with straightforward clarity.
Acoustically identical to Josephine and the various bike gear models. For a slightly warmer, mellower sound for the same applications, consider Myrtle.
The Myrtle
Large-diaphragm condenser microphone with spring-suspended retro styling. Ideal for live vocal performance use, or single-micing small acoustic ensembles.
Myrtle has the most classic vintage styling of any of our mics, with a design pedigree straight from the 1930s. Her sound, however, is a wonder of modern acoustic design that thrives in current stage environments. She takes the warm, detailed sound and astonishing feedback rejection of Edwina, and adds a low end tuned for accurately capturing acoustic instruments from any distance. Her sweet spot extends from 6 inches out. And she has the low noise and natural clarity to work wonderfully in the studio as well.
For more information on these amazing microphones, or advice on choosing which one suits you best, feel free to contact us!