User manual BLUE MICROPHONES KIWI

[. . . ] The microphone's electronics are Class A discreet, with transformerless output. In plain English, this means that the sound which arrives at the diaphragm is transduced (converted to electrical energy) as accurately as possible, allowing the user to get the maximum benefit out of the multi-pattern capsule created by BLUE. To this end, the Kiwi utilizes hand-selected electronic components of the highest quality (such as expensive metal-film resistors), and there are no integrated circuits (a. k. a. "IC's"), pads or low-cut filter switches in the signal path. [. . . ] The pattern selector switch is located at the rear of the microphone, and is easily adjusted by hand, with no special tools required. In addition to the standard cardioid, omnidirectional, and figure of eight patterns marked on the selector switch, there are 6 intermediate gradations of sub-cardioid (between omni and cardioid) and super-cardioid (between cardioid and figure of eight) patterns to choose from. You will notice that the sound of the Kiwi capsule changes when adjustments are made to the nine-position pickup pattern switch on the microphone body. In general, the omnidirectional pattern offers the flattest frequency response, with an absence of proximity effect. As the pattern becomes more directional (by clicking clockwise through the switch settings, filter to protect the diaphragm at close distances. Tilt the Kiwi 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. Conventional vocal recording is almost always done using a cardioid pickup pattern. But the variable pattern control allows you to experiment with the timbre changes which occur in sub-cardioid (left of center on the pattern switch, towards omnidirectional) and super-cardioid (right of center, towards figure of eight) settings. The Pop Whenever possible, spend a few moments exploring these tonal shifts while "tuning" the pickup patterns. The figure of eight pattern is useful for recording two singers on one mic, or for a "hotter" solo vocal with increased proximity effect (i. e. The omnidirectional pattern on the Kiwi can also be put to unique effect, whether recording a roomy, distant vocal track, capturing an unusual room ambience in combination with a close vocal mic, or on large group vocals. Acoustic Guitar For a balanced sound with plenty of sparkling high end, position the Kiwi facing the guitar neck, right where the neck joins the body (usually around the 12th­ 14th frets). For starters, use the cardioid pattern, keep the capsule as close as possible, and angle it toward the sound hole to capture a blend of low end and pick sound. If you need more lows, move the capsule closer to the sound hole, or adjust the pickup pattern one click at a time toward the figure of eight position. For more high end detail, move the Kiwi farther from the guitar, either at the same neck position, or above the instrument up by the guitarist's head. An omnidirectional pattern setting allows very close placement to the sound hole without boomy lows, and distant placement of three feet or more can produce interesting results throughout the available range of pickup patterns. Electric Guitar The Kiwi B6 capsule is useful for any clean amp sound, ranging from bright rhythm chords to warm jazzy tones. Angle the capsule toward the center of the speaker to capture more highs, or turn it toward the edge of the cone for a fuller sound with more low end. For overdriven or distorted tones, move the mic towards the outer edge of the cone, or back it away from the amp a foot or more to add a little room sound and soften the extreme high end. For even more control over definition and room tone on electric guitar tracks, it is common practice to use an ambient room mic in addition to a close mic on the amp. The omnidirectional or figure of eight patterns on the Kiwi are highly recommended for distant room miking applications on any amplified instruments, including bass, organ, and blues harmonica. Kiwi Capsule Frequency Response 0 Decibles (dB) -4 -8 -12 20 30 50 70 100 200 300 500 800 2K 3K 5K 7K 10K 22. 05K Frequency (Hz) This frequency chart of the Kiwi capsule is only a start. How the microphone reacts in a particular application will differ greatly because of many variables. [. . . ] More distant placement, or the use of an omnidirectional or figure of eight pattern will yield a natural, roomy sound that blends easily with other rhythm instruments. Bottle (w/B6) 200ohms 20mV/Pa 7, 5dB-A 87dB-A Power Supply 9610 48V phantom powered Supply voltage Cardioid 150ohms 150ohms Not less than 1kohms 19mV/Pa Pressure gradient Dragonfly 20Hz ­ 20KHz 21mV/Pa Cardioid 50ohms 87dB-A 150ohms 21mV/Pa Cardioid 87dB-A Sensitivity at 1 kHz into 1 kohm 20mV/Pa Technical Data Dyn. range of the mic amplifier Acoustical operating principal Maximum SPL for THD 0. 5% Noise level DIN/IEC 651 S/N ratio DIN/IEC 651 Rated load impedance S/N ratio CCIR468-3 Directional Pattern In keeping with our policy of continued product improvement, Baltic Latvian Universal Electronics (BLUE) reserves the right to alter specifications without prior notice. Dimensions (mm) Rated impedance Frequency range Microphones Weight 235x50x30 Blueberry 150ohms Cardioid 86dB-A 133dB 8dB-A 75dB 95dB 520g 165x65 134dB Mouse 7dB-A 76dB 96dB 980g 165x60 132dB 7dB-A 76dB 96dB 630g 220x60 230x50x30 18mV/Pa 82dB-A 10dB-A Cactus 130dB 71dB 97dB multipattern 87dB-A 133dB 8dB-A 76dB 95dB 880g Kiwi 800g 390x90 134dB 1700g 76dB 98dB Classic microphones, made without compromise P. O. Box 910 Agoura Hills, CA 91376-0910 Phone 818. 986. 2583 Fax 818. 784. 7564 www. bluemic. com Warranty This Microphone or related part is warranted under the conditions outlined below to its original, registered owner, provided the purchase was made from an authorized Baltic Latvian Universal Electronics (BLUE) dealer. This Microphone or related part is guaranteed to remain free from operating defects for one year from the date of purchase. [. . . ]