User manual BLUE MICROPHONES BABY BOTTLE

[. . . ] You probably already know that as an electromagnetic transducer, the traditional dynamic mic induces its own output voltage and does not require phantom power (pay attention -- there will be a test on this at the end of class). While this principal has been used for years in everything from guitar pickups to generators, and of course microphones, it exhibits some problems when it comes to accurate sound reproduction. When you plug your dynamic microphone into a fixed-impedance console input or outboard mic preamp, you create a resistive load in the transducer that varies with frequency. That would be fine if we wanted a tone control on our microphone, but in a recent very unscientific poll conducted by the AAK (Association of Arcane Knowledge), most respondents indicated that they did not want such a device ­ particularly one over which they had no control! [. . . ] Their reply: "Nekadu problemu!" Days later they emerged with what could only be described as an eleven o'clock shadow, two empty Balzam bottles, and a singed notebook containing sketches and pages of formulas and calculations. When we leafed through it, we knew immediately what we held in our hands: The design for an efficient, rugged Class-A discrete amplifier circuit that would once and for all ensure a consistent pure-resistive 50-ohm load across the entire useable frequency spectrum -- a dynamic microphone of unsurpassed sound quality that is as comfortable on the road as it is in the studio. Ball Frequency Response This frequency chart is only a start. How the microphone reacts in a particular application will differ greatly because of many variables. Room acoustics, distance from sound source (proximity), tuning of the instrument, mic cabling, fuse length and bat weight are only a few of the interacting issues. For an artist or an engineer, how the microphones are used creates the basis of the sound. 20 50 100 1, 000 10, 000 +10 Decibles (dB) 0 -10 Frequency (Hz) The Ball delivers an acoustic balance far superior to conventional dynamic microphones. It is open and detailed with unique presence, particularly at low frequencies, yielding an extremely smooth performance that pleases even the most discerning listener. Yet, unlike its electrostatic counterparts, the ball can withstand extremely high sound pressure levels that would send even the toughest condensers packing. After countless rejections --The Spheroid, Rollo, The Un-Cube, Balzam (see above), Moonie, or The Orbmaster 2000 -- we decided that it should be a direct reflection of the beautiful simplicity and symmetry of its shape. Besides, Moby Grape was taken. Ok, so how do I use The Ball? The Ball was designed for both stage and studio use. Because of its rugged construction, cardioid pickup pattern and high-spl specification, you can use the ball anywhere you'd use a traditional dynamic mic: kick drum, snare drum, tom toms, electric guitars, bass cabinets, vocals, and anywhere else you need a rugged mic that sounds unlike anything you've ever heard before. The Ball features a unique swivel mount located on the bottom center of the mic body. For overdriven or distorted tones, move the mic towards the outer edge of the speaker cone, or back it away from the amp a foot or more to blend room tone with direct pickup and soften high frequencies. Give The Ball a try on electric bass, blues harmonica, and organ too! Acoustic Guitar Large diaphragm mics require careful placement when used on acoustic guitar, but The Ball's rich tone and high output are well-suited to this task. For a balanced and pure sound, position the diaphragm facing the neck where it joins the body (usually between the 12th and 14th frets. ) Initially, keep the mic as close to the instrument as possible, tilting the diaphragm toward the soundhole to capture a blend of low frequencies and pick sound. If you need more low frequencies, move The Ball closer to the soundhole. For more high frequency detail, move The Ball farther away from the guitar, either at the same neck position, or above the instrument near the guitarist's head. Strings Because of its high output and natural highs, The Ball is an excellent choice for miking upright bass and cello. In general, the diaphragm should be angled toward the instrument's bridge to pick up a blend of body resonance and bow sound. If you would like to try The Ball with violin and viola, it is preferable to position the microphone 1 to 2 feet above the instrument. Angle the diaphragm toward the bridge for more bow sound and low tones, or toward the tuning pegs to capture a more diffuse, brighter sound. Drums The Ball's high SPL capability and excellent transient response offer numerous advantages when miking drums. For kit and hand drums, begin by placing the microphone two to four inches above the rim or hoop (where the head is secured to the shell). Angle the mic toward the player's stick or hand to pick up more attack and definition. Orienting the diaphragm toward the shell will soften the sharp attack of a hand drum, or pick up more of the bright, crackling buzz from a snare drum. [. . . ] Moving the microphone closer to a drum generally increases the low end, shell resonance, and separation from other sound sources, while more distant placement emphasizes the interaction of the drum and the environment, producing a blended, clearer sound. And don't be afraid to stuff The Ball right inside your kick drum for that classic "thump!" We're sure you'll be delighted with the results. Saxophones, Flutes, and Reeds The smooth, natural high frequency response of the Ball makes it an ideal choice for miking saxophones and other wind instruments. For soprano sax, clarinet, oboe and related instruments, position the mic directly above and in front of the keys between the middle of the horn and the lowest pads. Try moving the mic up or down along the length of the body to adjust the balance of airy highs (toward the mouthpiece) and cutting midrange (toward the bell). [. . . ]