User manual BLUE MICROPHONES MOUSE

[. . . ] In order to familiarize yourself with this microphone's specialized and unique features, please take the time to read this manual, and be sure to try the suggested recording tips. C Bottle (w/B6) 200ohms 20mV/Pa 7, 5dB-A 87dB-A Power Supply 9610 48V phantom powered Supply voltage Cardioid multipattern Not less than 1kohms 150ohms 19mV/Pa 87dB-A Pressure gradient Dragonfly 20Hz ­ 20KHz 21mV/Pa Cardioid 50ohms 87dB-A 150ohms 150ohms 21mV/Pa Cardioid Sensitivity at 1 kHz into 1 kohm 20mV/Pa The Mouse is a pressure-gradient cardioid condenser microphone, employing the BLUE single-membrane, factory-tuned large diaphragm capsule. For this hand-crafted diaphragm we have selected a 6-micron mylar film, sputtered with a mixture of pure gold and aluminum, and tensioned to our own hand-built brass backplates. Enclosed within a rotating spherical grille, the capsule can be positioned and adjusted in the smallest of spaces. This innovative design offers fine-tuning and precise placement to please the most discerning recordist, combined with an ease of use that is without equal among either vintage or contemporary microphones. Technical Data Dyn. [. . . ] 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, airier sound. Percussion On tambourine, shaker, bells, clave, and orchestral percussion the Mouse offers astounding clarity and realism. And unlike most large diaphragm microphones, the Mouse can be positioned quite close to a percussive source without distortion or undue proximity effect. Start by placing the microphone about a foot from percussive instruments. Moving the mic closer will emphasize detail and tone, as well as decreasing the proportion of ambient room sound on a track. More distant placement will yield a natural, roomy sound that blends easily with other rhythm instruments. Enjoy! First and foremost, the Mouse has been designed to provide the commanding, intimate presence associated with the Mouse 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 Mouse capsule 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 and microphone cabling are only a few of the interacting issues. For an artist or engineer, how the microphones are used creates the basis of the sound. world's best (and most expensive) vintage vocal microphones. With its shimmering, detailed highs, smooth mid-range, and minimized proximity effect (a bass boost inherent in all unidirectional mics), this capsule design excels at delivering a vocal right to the front of the mix where it belongs. When processed with limiting and/or compression, as is standard practice for most pop vocals, tracks recorded with the Mouse will be free of pumping and low end thumps. Acoustic guitar, hand percussion, drums, and other critical high end sources also shine in front of the Mouse, gaining an extra measure of "air" and presence that enables the most delicate sounds to cut through a mix, even at very low levels. In plain English, this means that the sound which arrives at the diaphragm is transduced (converted to electrical energy) as accurately as possible, with no integrated circuits (a. k. a. "IC's") in the signal path. To this end, the Mouse utilizes hand-selected electronic components of the highest quality (such as expensive metal-film resistors), and there are no pad or low-cut filter switches in the circuit. The Mouse is available with two different output circuitries-- transformer and transformerless. The main difference between these designs is that the transformer-based Mouse allows the user the option to run extra long mic cables for special applications and provides the user with the utmost protection for outside interference such as radio type frequencies (RF). The transformer version is styled in matte black while the transformerless is finished in a dark royal blue. To get the most out of this, or any quality microphone, it is essential to pair it with a good microphone pre-amplifier. Most professional recordists prefer to have outboard preamps on hand, and will choose solid-state or vacuum tube models based on their unique characteristics. [. . . ] The Mouse requires 48 volt phantom power, which is standard with most mic preamps, mixing consoles, or separate phantom power supplies. It is important to note that some units, though rated at 48 volts, may supply insufficient or unstable phantom power, which can result in distortion and/or degraded performance when used with the Mouse. Mouse Pop Filter To avoid damage to audio components when connecting phantom power, follow this simple procedure: 1) turn down the mic preamp gain, headphones, and your studio monitors, 2) connect microphone cable to the Mouse and microphone input jack, 3) turn on phantom power, 4) turn up the mic preamp gain, etc. To disconnect or re-route the Mouse, 1) turn down the mic preamp gain, headphones, and your studio monitors, 2) turn off phantom power and wait 10 seconds before disconnecting the mic. Once the Mouse is on the stand and powered up, make sure that the active, on-axis side of the capsule (the shiny hemisphere of the grille) is facing the desired source. [. . . ]