“Pay attention to how close and especially the angle of your wedges. If you need to, put your Edwina lower and angle it up. Get as close as you can to the mic, and set your levels from there. We’ve played on really loud stages with multiple wedges and are still able to get great volume and tone. It can take a lot of testing, especially if you’re playing different venues every weekend like we are. But with lots of practice this mic will be the only one you will ever use. Also pay attention to what’s behind you. That will certainly affect the sound bouncing back into the mics.”

–Kodey Feiner

“A couple of tips: make sure the speakers are in front of the mic. Use a graphic EQ to find and dial out the problem frequency. Pull out just enough to get rid of the feedback. I find it’s usually around 250. Make sure your gain is adjusted properly.”

–Isaac Callender

“Delphina user here. (Thanks Philip, we love it.) I prefer some sort of curtain behind, say 6-8' away and 8'x10', dimensions easily found in fabric or big box hardware stores- canvas painters drops or fancy theater curtains- anything to cut the bounce back. Of course, eq and gain set properly is prerequisite. In this scenario, we've used a monitor directed towards the mic (re: performer(s)) a couple/few feet ahead with fine results. Even in an empty swimming pool. Yep. 😎”

–Zachariah Jones

“As an engineer, I think I've ran monitor mixes using every ETL mic at some point. Had problems occasionally, but nothing we couldn't solve. The main factors are the room, the EQ, & time. Milk Carton Kids will have nice quiet crowds, 100-band EQs and plenty of time at soundcheck. On the other end of the spectrum it might be a noisy bar where people are talking over you, and you had a flat and showed up 10 minutes after you were supposed to start. Some nights it will be easy, some nights it won't. That's the grind! If you have an engineer ask them if they can "ring" the mic. We love doing that! If you are running your own sound, first thing to think about is speaker/mic positions and reflections. Slight tweaks in the angle & position can make a big difference. Ideally you would have access to a parametric EQ, and you'd turn the mic up very slowly til it starts to ring and then make a narrow cut to the frequencies that feed back. You don't want to go crazy with it, just cut the first few that pop up. That should get you there. A trick if you don't have a fancy EQ, is to use a frequency analyzer app on your phone to find the frequency to cut. I use one called FrequenSee. In rare occasions, if it's one voice or instrument that needs a little more, I'll use a 57/58 and add it to the monitor only.”

–Eric Lucas