Sometimes, it’s all about the look. There are literally thousands of live performance vocal mics to choose from for stage applications, ranging from large side-address condensers to handheld dynamics to ultra-miniature headworn microphones. So is there really a place for a new live vocal mic that emulates the appearance of a classic 1920’s Western Electric double button carbon microphone? For the right artist, in the right setting, the answer would be absolutely.
The technology behind carbon microphones goes back nearly 140 years, when Thomas Edison patented the first carbon mic design — a rubber disk covered with carbon in the form of graphite, which varied the resistance in proportion to the vibration of the parts. It was OK for its time, but far from perfect, yet continued to be advanced to the point where models such as Western Electric’s #387 became the recording and broadcast standard that fueled the rise of radio, talking pictures and the use of electric cutterheads as 78 records cut with mics and amplifiers began in the mid-1920’s. The Model 387 wasn’t perfect, but durable and sounding good for its day, became one of the iconic microphones of all time.
Flash forward to the 21st century, where roots, early folk and Americana musical styles are perhaps more popular than ever. And many artists like to invoke a nostalgic look into their live shows, without having to put up with the poor noise performance and crude telephone-like frequency response of carbon design.
Appearances Can Be Deceiving
With “new and old” goal in mind, Philip Graham of Ear Trumpet Labs now offers the Myrtle, a handmade modern microphone design that pairs the vintage look of a spring suspended capsule with up to date components.
The mic is nearly a foot tall, including the 6.5-inch suspension ring. However, there’s no attempt to emulate or recreate an old-time sound. Like a “sleeper” hot rod, this mic’s all about performance that belies its tame outer appearance.
Under the hood, Myrtle features a 26mm large-diaphragm cardioid condenser (48 VDC phantom powered) capsule with sophisticated transformerless FET electronics using metal film resistors, polypropylene and polystyrene capacitors, as well as individually tested, hand-matched and biased transistors and JFETs. A tall, 1-inch diameter copper support tube beneath the suspension rings not only houses the electronic components and XLR output jack, but also provides a high degree of EMI protection and offers convenient location for attaching a standard mic clip for stand mounting.
Protective Measures
Beside providing clean performance, the onboard preamp features a moderate bass rolloff to compensate for excessive proximity effect and some gentle high frequency equalization tuned to the capsule to avoid harshness and help control feedback.
The head basket incorporates internal Sorbothane vibration damping and with the not-just-for-show spring suspension, the net effect is a level of shock mounting that’s nearly impervious to any amount of stage bumps, stomps or jolts.
The capsule itself is housed within a protective steel grill, which is lined with silk fabric offering very effective pop/plosive resistance. However, due to the nature of the capsule and the mic design, adding any additional external filtering is pretty much out of the question and the mic is susceptible to gusty winds during outdoor events.
Speaking of protection, the mic ships in a rugged, foam-lined (and heavy gauge) steel carry case that looks like it was originally designed to house pneumatic impact drivers. It’s funky, but probably explosion-proof and certainly roadworthy.
Impressions
Myrtle surprised me. It really is an amazing mic. The cardioid pattern is smooth and slightly wide, so the mic is fairly forgiving on performers who may drift somewhat off axis. The cardioid response is consistent, so feedback rejection wasn’t a problem.
Although it may look like an vintage suspension carbon mic. It definitely does not exhibit any of that “pinched nose” midrange carbon mic sound. Of course, if you really are looking for that “Winchester Cathedral” or “We’re so sorry, Uncle Albert” megaphone sound, all it takes is a little (or a lot of) EQ.
I found Myrtle to be equally suitable on male or female voices, as the capsule exhibits a largely uncolored sound that was warm and sweet yet clear and transparent with an unexaggerated high-end that can lead to harshness on some condenser designs. This one’s a winner.
At a Glance:
Modern Sound, Vintage Look
Ear Trumpet Labs’ Myrtle offers the look of a classic 1920’s suspended double-button carbon microphone, but with a smooth, modern cardioid condenser capsule.
Pros: Classic looks, smooth response, clean sound, wide cardioid pattern.
Cons: Susceptible to wind noise on outdoor gigs.
Price: $599, sold direct
More info: www.eartrumpetlabs.com
