You probably know that hearing is highly susceptible to outside influence. If not, watch this Audio Myths Workshop, it’s amazing. (The good stuff starts at 5:27, with Poppy Crum playing Led Zeppelin.)
The Edwina microphone sounds good, and its sound quality is augmented by its sex appeal. I brought this large diaphragm cardioid condenser microphone from Ear Trumpet Labs to review during a festival of mostly acoustic bands at Freight & Salvage in Berkeley, and its brass body, stainless steel bolts, and swiveling head basket made it immediately popular. I even got to do some group miking as described in yesterday’s post.
Compared to a Neumann KSM105, the Edwina sounds more crisp and light in the high end on stringed instruments, with a more detailed and less rounded low end. This was useful for mixing a giant instrument like a piano in with an entire band. It was also helpful when distance miking groups, because the summing room reflections were less obvious.
I love the construction, which looks great and feels sturdy. It does have exposed cabling, but I’m not sure when that would be in danger. There are two things I think can be improved:
- It is not immediately obvious which side of the capsule is the front. It becomes clear on close inspection, but if you are in a hurry to record your podcast you might accidentally do the entire interview into the wrong side of the microphone. But then, who would do that?… (cough)
- The head basket is not 100% stable when finger-tight. When I placed the microphone and tightened the head basket by hand, it occasionally slipped out of place. When I tightened it with my multi-tool, there was no slipping.
Listen to a Sample
My interview with Philip Graham includes a short recording with the Edwina, starting at 20:45. (Using the built-in preamps of the Soundcraft i4, if you’re interested.)
That’s me monkeying around on the piano. ☺