User manual BLUE MICROPHONES BOTTLE

[. . . ] ottle Bottle C ongratulations on your purchase of the BLUE Bottle, a classic modern vacuum tube microphone made the old-fashioned way, without compromise. In every industry--cameras, automobiles, audio, and more--there are a handful of small companies reputed for a rare blend of scientific precision and artistic passion. You know who these artisans are; their trademarks are synonymous with the ultimate in hand-crafted perfection. Our flagship "The Bottle" microphone parallels this vision, representing BLUE's highest achievement in quality and innovation. [. . . ] The B3 capsule is an excellent choice for vocalists who don't require a built-in microphone presence boost, especially female singers. For vocalists that are indistinct, soft-spoken, or don't provide sufficient intelligibility on a large diaphragm microphone, the B1 capsule is highly recommended. And for ballad crooners and a variety of historical vocal styles, there is nothing like the warm "Bing Crosby" sound provided by the B2. For a "big" vocal sound with maximum presence, get the vocalist within one to three inches of the capsule. There is no need to worry about overloading the microphone capsule, but be sure to use a mesh windscreen or pop filter to protect the diaphragm at this distance. Tilt the capsule stem up (toward the forehead) for more projection and head tone, straight on at the mouth for maximum brightness and intelligibility, or down toward the chest for more robust lows and smoother highs. Saxophones and Reeds The smooth high end response and large diaphragm warmth of the B2, B3 or B7 capsules make them ideal candidates for miking saxophones and other reed instruments. For soprano sax, clarinet 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 rotating the capsule or 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). For other members of the saxophone family, start by placing the capsule two to six inches in front of the lip of the bell. Turn the capsule up toward the mouthpiece, or raise the microphone above the bell to capture more air, brightness, and high notes. For a mellower sound, rotating the capsule toward the floor emphasizes the low range of the sax, and tames the biting upper mids that project straight out of the bell, particularly on alto saxophone. Acoustic Guitar The transparency and superb transient response of the B1 and B3 capsules make them natural choices for miking acoustic guitar, resonator guitar, banjo or mandolin. Large diaphragm capsules require more careful placement, but the B0, B6, and B7 capsules are also well-suited to this job. And the B5 omni capsule is great at approximating the bright rhythm guitar sounds of the 60's and 70's. For a balanced sound with plenty of sparkling high end, position the microphone facing the guitar neck, right where the neck joins the body (usually around the 12th ­ 14th frets). For starters, keep the capsule as close as possible, and angle it toward the sound hole to capture a blend of low end and pick sound. For more high end detail, move the Bottle farther from the guitar, either at the same neck position, or above the instrument up by the guitarist's head. Brass All members of the brass family need to be miked from in front of the bell. But for studio recording it is not necessary to aim the microphone capsule right down the center of the bore, or place it too close. The trumpet, with its directional characteristics, high sound pressure level, and limited frequency range, will yield a clear, cutting tone at distances ranging from 6 inches to 2 feet. The trombone and tuba can be approached similarly, although closer miking toward the outer edge of the bell (4 to 8 inches) will help to offset a thin or overly bright timbre. Capturing a mellow, rounded tone is a challenge with any brass instrument. To avoid buzzy highs and transient overloading, persuade the player to blow at less than peak stage volume, and use a large diaphragm capsule such as the B2, B3 or B7. Cornet and flugelhorn usually have a softer, more intimate sound, are played at lower volume, and can be miked at a distance of 2 to 6 inches. Drums Electric Guitar The B2, B6, and B7 capsules are useful for any clean amp sound, ranging from bright rhythm chords to warm jazzy tones. [. . . ] In the lower position labeled Plate, the tube plate voltage can be check for performance. This switch does not effect the performance of the Bottle mic system. Voltage Changes The 9610 operates at either 110 or 240 voltages. Your power supply has been shipped for the proper voltages required in your country. If a voltage change is needed, push in on the fuse slot located at the AC receptacle. [. . . ]