User manual BLUE MICROPHONES THE BALL

[. . . ] But because The Ball is such a unique recording and sound-reinforcement tool, we really hope you take the time to familiarize yourself with its features. And be sure to try the suggested application tips that are designed to help you get the most out of The Ball. With proper care and feeding, the Ball will reward you with many years of recording and performance enjoyment. [. . . ] The Ball features a unique swivel mount located on the bottom center of the mic body. Be sure to mount The Ball on a standard-thread counter-weighted mic stand. Though The Ball is extremely durable, we would hate to see it fall due to an inadequate stand (it doesn't bounce well). Once mounted, you can gently pivot The Ball back and forth for optimum positioning in front of the sound source. ! HEADS UP!: Forceful positioning of the swivel mount can result in damage not covered by the warranty, so there. The Ball requires +48 volt phantom power which most FOH consoles, recording consoles and outboard mic preamps supply. If your preamp does not have a phantom power facility, several external power units are available from various manufacturers. It is important to note that some units, though rated at +48 volts, may supply insufficient or unstable power which can result in distortion or degraded performance when used with The Ball. To avoid damage to audio components when connecting phantom power, always follow this simple procedure: 1. Mute console master, stage monitor and mains feeds, headphones or foldback sends, and studio monitors. Connect the female end of your balanced XLR microphone cable to The Ball's output jack located on the back of the mic body directly opposite the Blue logo. Connect the male end to your balanced console input or balanced mic preamp input. Un-mute all previously muted signal paths and adjust mic preamp gain as necessary. To disconnect or reroute The Ball, be sure to mute all audio signal paths before you disengage phantom power. Wait 30 seconds to allow all components in the signal path to discharge before disconnecting the mic. Once the Ball is on the stand and powered up, make sure that the active, on-axis side of the diaphragm (the side with the BLUE logo) is facing the desired source, unless you're recording your cousin Lenny's accordion recital, in which case turn the logo away and cover your ears. The Ball has proven to be popular even in some of the more obscure reaches of the galaxy Four out of five audio engineers recommend The Ball Great, so now I'm ready to go! [. . . ] 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. [. . . ]