a well-respected microphone brand. Philip, a former software engineer with an eye for industrial design, never intended to start a microphone business. His journey began in 2011 when his daughter Mala- chi, a musician herself, wanted to record her own songs. Using his knowledge of acoustics and electronics, he built her a microphone from spare parts, aiming to capture an accurate, natural sound. Word spread, demand grew and Philip found himself refining his designs to meet the demands of live performances. Now, he, alongside his daughter, run a workshop of six craftspeople and has had his micro- phones used by more than 20 Grammy- winning artists. “I started off making condenser mi- crophones as a hobby and then when a few musicians were interested in them, I had the realization that acoustic music is presented live using the tools of rock ‘n’ roll,” Philip said. “That didn’t really make any sense for a quieter stage volume where delicate fidelity is what the music was really asking for. I was wondering why people didn’t use condenser mics more. That really started me on the path of do- ing some research into it and doing the design work to make condenser mics that are as stable as possible in a live setting.” “It’s been such a delight, both as my music career has grown as a performer and to get to be the business manager helping these microphones reach more artists,” Malachi added. “It’s so cool for me to get to both be an artist and spend my time helping people find the best tool for them.” With growing demand, the Grahams expanded their operation into a small workshop, enlisting a team of six skilled craftspeople — each a musician themselves. This musician-centered approach ensures that the mics are not just visually stun- ning but also highly functional, capable of delivering rich, natural sound in both studio and live settings. A DEEP FOCUS ON THE MIC At Ear Trumpet Labs, microphones are never an afterthought in the music-making process. The company’s design process is deeply intentional and always evolv- ing, ensuring that each microphone is an artistic statement. “Something that we’re really known for also is the distinctive visual looks and designs of the mics, and that’s absolutely a factor of Philip figuring out how to do this himself, and him being really drawn
creates reverence and excitement around what a microphone looks like?” One of the brand’s most celebrated cre- ations is the Myrtle — a spring-suspended, medium-large diaphragm condenser mi- crophone that has become a favorite for acoustic ensembles. According to Malachi, its growing popularity stems from its abil- ity to capture the warmth and balance of an entire group with just a single mic. “We call it gab around miking where ev- erybody plays into one microphone, which is a performance style that’s popular in bluegrass,” Malachi said. “It enables big touring artists to strip down their whole show for a really intimate, magical moment where a whole group is playing and singing harmonies into a single microphone, and we’re really proud that our microphones have made that possible.” FILLING THE GAP Bridging a unique gap in live performance, Ear Trumpet Labs’ microphones offer a high-quality, visually appealing and soni- cally rich alternative tailored specifically for acoustic musicians. This direct con- nection to musicians has set Ear Trumpet Labs apart. “We fill a very specific gap in live performance that I don’t think there are other people really stepping up and fill- ing,” Philip said. “What’s interesting from a retail point of view is that a lot of our sales are directly to artists, but also when we work with resellers, it is often shops that may not carry other microphones at all. They tend to be instrument shops that are just very connected to acoustic music communities. I don’t think other people are really stepping up to provide that kind of resource.” Expanding into new sonic territory, Ear Trumpet Labs’ recent release of its Wanda microphone is its first new model in several years. Wanda takes inspiration from a different design era, capturing the aesthetic of 1940s and 1950s microphones while delivering the same intentional craftsmanship and sonic excellence the company is known for. “It’s a stand-mounted, medium-large diaphragm condenser microphone tuned to work really well on high SPL sources,” Philip said. “It’s great as a vocal mic, great on horns and even as a snare mic. We’re just finalizing it, but people can expect to see that on our website, or if resellers are interested in working with us, that will be available in the next month.” MI
“We fill a very specific gap in live performance that I don’t think there are other people really
stepping up and filling.” — Philip Graham
to the visual designs of 1920s, 1930s, and 1940s microphones, which are so classic and emblematic in the history of music and the history of American music,” Malachi said. “He was noticing people put so much attention and care into how other pieces of gear look and are designed visually and the look of the microphone in front of you seemed like such an afterthought. I remember hear- ing him talk about that being an aspect of the early design process where sonic considerations are paramount, but how do you pair that with a visual design that
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