blindboygrunt Posted August 2, 2018 Share Posted August 2, 2018 https://thebluegrasssituation.com/video/sitch-sessions-dom-flemons-going-down-the-road-feeling-bad Everybody wants one of these mics don’t they If you are shopping for one or considering one then this bluegrass satiation has a few examples of them being used Sure sound good to me And like murph said , it’s all about the looks , and don’t they look very cool Link to comment Share on other sites More sharing options...
Murph Posted August 2, 2018 Share Posted August 2, 2018 These things are everywhere. Buc is the hip cat this time. Link to comment Share on other sites More sharing options...
scriv58 Posted August 2, 2018 Share Posted August 2, 2018 i have the myrtle good mic Link to comment Share on other sites More sharing options...
Murph Posted August 2, 2018 Share Posted August 2, 2018 Got a video with it? Link to comment Share on other sites More sharing options...
Lars68 Posted August 2, 2018 Share Posted August 2, 2018 I recently bought a Myrtle too. Here are the two tracks I have recorded with it so far: An original song, done as two seperate tracks, one voice and one guitar. https://soundcloud.com/lars1968/to-sunlit-skies-1 A cover of a song by The Smiths, done in one take, guitar and voice at once onto one track. Like so many, I was drawn in by the look of the mics, but they sound very good too. Very natural sounding I think. Lars Link to comment Share on other sites More sharing options...
scriv58 Posted August 2, 2018 Share Posted August 2, 2018 never tried video but i used it on this thread last october no sweetener at all just the apollo twin pre amp to drive the myrtle http://forum.gibson.com/index.php?/topic/139494-friday-fun-quiz/ Link to comment Share on other sites More sharing options...
scriv58 Posted August 2, 2018 Share Posted August 2, 2018 i know i should use some compression but i lose interest quickly Link to comment Share on other sites More sharing options...
BoSoxBiker Posted August 5, 2018 Share Posted August 5, 2018 I was surfing around the ETL You Tube channel and discovered this in the Myrtle section. Other than being a terrific performance, it does help show off the Myrtle voicing and what it is capable of. The input gain on the mic is set up at sensitive level from the pre-amp(or interface,etc) and is picking up good nuance. Then she lets her voice belt out while shifting back from the mic a very minimal amount. The mic takes it all. Just pure, dripping tone. You can jump on a 'bird with a heavy strum or flat-picking from about 8-inches and end up with a nicely driven tone. Not distorted. Driven. It doesn't blow out the bottom, either. In fact, it can pick it up decently from 4-feet and not be too much at 8-12 inches. There are sweet spots just like any other mic, but the not-sweet spots do not become unusable. I swear it's as if it was a "smart" microphone. Plus, it takes to minimal post-tracking compression like nothing I've ever tried before. The thoughts on this one was that it is PatriotsBiker-proof. I try vocals tomorrow, hopefully. Link to comment Share on other sites More sharing options...
Lars68 Posted August 5, 2018 Share Posted August 5, 2018 The forgiving nature of the Myrtle mic, is in my opinion its greatest trait, especially for a home recording amatuer like me. I have made good sounding recordings with other mics too, but with this one I just put it out in front of me and start recording. Changes in distance, height, angle etc, does not chance the recorded sound as much as with other mics I have tried. Some advanced users might find this a weakness, but I truely love this feature. When you have given vocals a test, would you mind giving me some tips on how to avoid sibliants, if you perhaps deal with them too?. Swedish is a language with very sharp and distinct S-sounds, which always gives me problems when recording. My Swedish S-sounds, shine through even when I sing in English. You native guys tend to have more and softer Z-sounds, than sharp S-sounds, but that does not come naturally to me. I have tried angling the mics and sings sort of just outside of the mics, it helps but not as much as I would like. I then use a de-esser plug-in in Garageband, but it kind of takes the air out of the recording. Another problem is that my room is way to small, and sound bounces all over the place... If you could also elaborate some more about the differences between the Myrtle and the Edwina, I would be very interested. By the way, do you perhaps know the difference between turning the recording volume up on the interface, versus using a dedicated mic pre-amp before the interface. I am able to get one of these for $20, but don't know how or if the are useful. https://www.sweetwater.com/store/detail/TubeMP--art-tube-mp Lars And yes, that Caitlin Cantry performance and recording is super! Link to comment Share on other sites More sharing options...
BoSoxBiker Posted August 5, 2018 Share Posted August 5, 2018 ..... By the way, do you perhaps know the difference between turning the recording volume up on the interface, versus using a dedicated mic pre-amp before the interface. I am able to get one of these for $20, but don't know how or if the are useful. https://www.sweetwater.com/store/detail/TubeMP--art-tube-mp ..... Lars, I don't know anything about that pre-amp. I have heard that it is sort of an economy brand, but that may be bad information. Additionally, the only pre-amps I've ever used are built-in to the interfaces or other components I've owned. I do want to migrate to a separate pre-amp this Winter. Not sure which one, though. TBD For $20, I'd try it just out of curiosity. Even if it doesn't sound right, it may be an effect you can use someday on a different project. I use tube simulation software(plugins) after I've recorded within my DAW. Both Edwina and Myrtle sound fantastic using them. This one, in particular, is one of my favorite ones. It's as much magic to me as Myrtle was, and I have tried tons of plugins. BlackBox Point is, is that if it works well with your interface, it could be a big, cheap win. If not, flip it back over. I'm curious to hear how you make out with this if you try it. Link to comment Share on other sites More sharing options...
BoSoxBiker Posted August 5, 2018 Share Posted August 5, 2018 The forgiving nature of the Myrtle mic, is in my opinion its greatest trait, especially for a home recording amatuer like me. I have made good sounding recordings with other mics too, but with this one I just put it out in front of me and start recording. Changes in distance, height, angle etc, does not chance the recorded sound as much as with other mics I have tried. Some advanced users might find this a weakness, but I truely love this feature. I'm in total agreement. When you have given vocals a test, would you mind giving me some tips on how to avoid sibliants, if you perhaps deal with them too?. Swedish is a language with very sharp and distinct S-sounds, which always gives me problems when recording. My Swedish S-sounds, shine through even when I sing in English. You native guys tend to have more and softer Z-sounds, than sharp S-sounds, but that does not come naturally to me. I have tried angling the mics and sings sort of just outside of the mics, it helps but not as much as I would like. I then use a de-esser plug-in in Garageband, but it kind of takes the air out of the recording. Another problem is that my room is way to small, and sound bounces all over the place... Will do. I use a screen with a gooseneck. Something like this. screen It helps me more with the plosives than essses, though. On the esses, I mainly just try to turn my mouth a bit away from the mic. If you've got siblances due to mids bouncing all around the room, you can do some cheap and temporary things like a throw rug, maybe hang a couple of blankets up or even change positions in the room. Diffusion is another technic. Imagine a book shelf with all sorts of different shapes and sizes of books. The sound-waves hit that and bounce all over the place instead of straight back at you. Remember that the mic will also pick up some signal on the rebound from behind the mic, too. I have some foam in my room, which helps a good bit. A few cheap pieces did just fine to break up some of the reflections. I'll do a more proper room treatment sometime. If you could also elaborate some more about the differences between the Myrtle and the Edwina, I would be very interested. I think those were really the biggest differences, though I think I split it in two different threads. #1: The source distance range, especially the low-end. #2: A bit less mid-range frequency response. They are both just as warm and great sounding when recorded properly. That's the key statement. When recorded properly. That requires technique, performance and room. Mine are amateur all around. Especially the room, performance and mic technique. Oh, that was all three. :( I do suspect that a professional in a good room can get a more pure signal with Edwina. It's like other studio mics in that it can pick up great detail from a long way out. Just not in the low end like Myrtle can. Then again, there are times when Edwina's reduced low-end are the right tool for the job. Lots of what audio engineering is is knowing where to cut the low end so that mud can be controlled and to help place the signal in the mix front-to-back. (it's not just the mid-range popping through that makes something break through a mix. It needs some low and low-mids to stand on, so to speak. Try boosting 165Hz on an even acoustic signal to see how it comes through a mix. Too much of it breaks the whole thing. To me, that whole balance of Myrtle is just what works in my room. 6-inches in, Edwina does well, but my room and skill makes the 2.5kHz range too bright. Well, a touch too bright. Edwina is still much better at taming that range than any other mic I've ever tried until Myrtle. Then again, I've never had a $600 mic before. (sm57 - $100, Studio Project B1 - $140, Rodes NT1 $220 and a Shure 87A beta @ $280, to put my previous mic experience into better perspective.) Also note this: #1: It took me 2 weeks to get my Anthem and processing to a MUCH better place than anything I had ever mic'd before in 7 years. #2: It took me 2-4 hours to get Edwina with processing to tons better than I ever got anthem. Night and day difference. #3: It took me 4 takes to match Edwina with Myrtle. 4 TAKES!!! And that is with no processing. And now I feel like I can steer the thing to the point where I am no longer trying to get rid of the bad, but deciding which version of good to use. (softer, brighter, thicker, warmer, back, front, etc, etc.) I can even point Myrtle to right above my soundhole towards the ceiling and get minimal boominess, nor too much pick attack or anything of the sort. It just sounds like a different place. I still have not run it through my best input stage plugin with my Apollo. Gotta like it when things make me look good. It's so easy to make it sound great after tracking, too. Link to comment Share on other sites More sharing options...
Murph Posted August 6, 2018 Share Posted August 6, 2018 I wonder how you could use one of these with a Bose S-1 Pro in a "powerless" context? Using the battery on the Bose, is there a battery way to run the ETL ? Link to comment Share on other sites More sharing options...
Lars68 Posted August 6, 2018 Share Posted August 6, 2018 Pb, thanks for the very informative answers! When I first started recording, before writing songs of my own, I was on a PC with the Adobe Audition software. I came to the conclusion that I was spending too much time with technical stuff, like software compatibility issues, drivers this and that, virus checking, loooong start up time, frosen screens, etc etc etc. So I sold the mic (Studio Projects B1 by the way) and the soundcard, and got an Apogee Mic for my iPad. Just one mic, one cable, and the iPad. Starts up and ready to go in ten seconds. It was/is great! This is the combo I recommend to eveyone asking me about home recording. So easy and sounds good too. I think this is how Sal records his great stuff (?). However, as I have slowly gotten better at doing my own songs, I started to miss some of the things I could do on the PC. So right now I'm going for sort of a compromise. I'm still in Garageband on the iPad, but I have added an Apogee One soundcard for IOS (and PC), and recently the Myrtle mic. Yesterday I also got the $20 mic pre-amp I mentioned. I think this is good middle ground, as I don't want to spend too much time on the technical side of things. The ease of use of the Myrtle really helps too. It is sort of the plug-and-play version of condensor mics, I think. I think I found part of the issue with the ess-sounds. You mentioned gain staging somewhere, and it made me check. I have good levels on my soundcard, but the input level on the iPad was full up. Not so good... Soon when trying the little pre-amp there will be three levels to keep an eye on. Pre-amp, soundcard, and software. Oh boy, I have no idea how to manage those levels Lars Link to comment Share on other sites More sharing options...
BoSoxBiker Posted August 6, 2018 Share Posted August 6, 2018 I wonder how you could use one of these with a Bose S-1 Pro in a "powerless" context? Using the battery on the Bose, is there a battery way to run the ETL ? Does the Bose have XLR inputs? If so, does the bose offer phantom power as an option through it? In case Bose does not do phantom power out - Here is an example of a battery powered phantom power supply. It's similar to the unit, but same company to the phantom power supply located on the bottom right of the ETL product pages. Battery Powered Phantom Power Supply Link to comment Share on other sites More sharing options...
BoSoxBiker Posted August 6, 2018 Share Posted August 6, 2018 Pb, thanks for the very informative answers! When I first started recording, before writing songs of my own, I was on a PC with the Adobe Audition software. I came to the conclusion that I was spending too much time with technical stuff, like software compatibility issues, drivers this and that, virus checking, loooong start up time, frosen screens, etc etc etc. So I sold the mic (Studio Projects B1 by the way) and the soundcard, and got an Apogee Mic for my iPad. Just one mic, one cable, and the iPad. Starts up and ready to go in ten seconds. It was/is great! This is the combo I recommend to eveyone asking me about home recording. So easy and sounds good too. I think this is how Sal records his great stuff (?). However, as I have slowly gotten better at doing my own songs, I started to miss some of the things I could do on the PC. So right now I'm going for sort of a compromise. I'm still in Garageband on the iPad, but I have added an Apogee One soundcard for IOS (and PC), and recently the Myrtle mic. Yesterday I also got the $20 mic pre-amp I mentioned. I think this is good middle ground, as I don't want to spend too much time on the technical side of things. The ease of use of the Myrtle really helps too. It is sort of the plug-and-play version of condensor mics, I think. I think I found part of the issue with the ess-sounds. You mentioned gain staging somewhere, and it made me check. I have good levels on my soundcard, but the input level on the iPad was full up. Not so good... Soon when trying the little pre-amp there will be three levels to keep an eye on. Pre-amp, soundcard, and software. Oh boy, I have no idea how to manage those levels Lars You're quite welcome, Lars. That Studio Projects mic was supposed to be a low-cost, smooth sounding entry mic. Mine was an automatic mid-frequency squelch generator. Just add tone. I still have it, but only because I'm afraid to sell it and maybe one day I'll have some source material with impossible 1kHz - 5kHz range. I wish these DAWs were a great deal better than they are about technical issues. They've made some headway. Device detection better than it was 8-10 years ago, for example. Yes, siblances at any frequency range can seem higher as they get increased in volume. Especially mids, because the just seem to hit us right between the eyes. Gain staging is very easy. It's the process by which you ensure that you are sending a signal to the next component as close to ideal levels as possible. Let's say, for example, that you know that your peak signal higher than -18dbfs causes your clean tone to break up a bit inside your interface or DAW. That's our goal. No higher than -18dbfs. (insert your real value - it might be -14dbfs). If you don't know, start somewhere in that range and adjust if you need to. Let's say it's -18dbfs. Next, consider the chain. Microphone to Pre-Amp to Interface to DAW. The second part to gain staging is the "how" to accomplish this. The how is to make sure that no matter what is coming into the unit, that you send out the desired signal strength. So on your pre-amp, you're getting a static signal from the mic. Inside the preamp you increase the gain and/or volume. You make sure that what is being sent out to the interface is no higher than the number you chose, -18dbfs. No inside the interface, no matter what you do, you make sure it does not go above -18dbfs. If you want to send -10dbfs to the DAW, increase the gain inside the interface and not the pre-amp. (that's a generalized rule, not absolute, as all of these things are generalized to some extent) Remember, if we know we don't like a signal above -18dbfs on the interface's incoming signal, the only place we can increase that volume is once it gets inside the interface or at any point beyond. Apply the same thing with your DAW as you did with the Interface. If you think a -10dbfs signal is too hot, it is either because you made it too hot before the DAW or the DAW treats it in a manner that makes it too hot. If before the daw, then you simply need to adjust your gain staging. Another layer is beyond the hardware, inside the DAW and inside some interfaces that allow use of plugins to treat inbound signals. The same general rules apply. You want to pass a signal along that the next plugin can handle. Don't worry about it being too soft in the end. Just turn it up. The simplest way if you are bouncing(exporting) your song is to simply turn up the Master output volume slider. Sheesh, that was too long again. Sorry about that. Link to comment Share on other sites More sharing options...
gfa Posted August 8, 2018 Share Posted August 8, 2018 https://thebluegrasssituation.com/video/sitch-sessions-dom-flemons-going-down-the-road-feeling-bad Everybody wants one of these mics don’t they If you are shopping for one or considering one then this bluegrass satiation has a few examples of them being used Sure sound good to me And like murph said , it’s all about the looks , and don’t they look very cool Just about every time we play a gig, an audience member comments on our ETL Josephine. Link to comment Share on other sites More sharing options...
blindboygrunt Posted August 8, 2018 Author Share Posted August 8, 2018 Just about every time we play a gig, an audience member comments on our ETL Josephine. Not surprising. I’d say something too ! Link to comment Share on other sites More sharing options...
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