Microphones
TM
Step up to the mic.
In keeping with our policy of continued product
improvement, Baltic Latvian Universal Electronics
(BLUE) reserves the right to alter specifications
without prior notice.
Blue Microphones, OmniMouse, Mouse, Baby Bottle,
Kiwi, Bluebird, Cactus, Bottle and The Bottle Caps
are trademarks or registered trademarks of Blue
Microphones, Inc. All other trademarks contained
herein are the property of their respective owners.
©2006 Blue Microphones
5706 Corsa Avenue, Suite 102
Westlake Village, CA 91362
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WHEN WAS THE LAST TIME YOU REALLY REMEMBERED SOMETHING CALLED THE C-4118? OR THE MX-009, OR THE DL-700 (SERIES K). LET’S FACE IT, WITH THE EXCEPTION OF
A
FEW FAMOUS NUMBERS FROM THE GOLDEN AGE OF MICS (YEAH, WE KNOW YOU KNOW WHAT THEY ARE), MOST MIC NAMES THESE DAYS ARE AS MEMORABLE AS THE FINAL SCORE OF SUPERBOWL XXVII. SO LIKE EVERYTHING ELSE WE DO, WE SET OUT TO CHANGE THAT. THE RESULT IS THAT YOU CAN NOW WALK INTO ANY FINER AUDIO RETAILER AND WALK OUT WITH
A
BABY BOTTLE,
A
BLUEBIRD,
A
KIWI OR
A
CACTUS. NOT TO MENTION
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MOUSE. OR AN OMNIMOUSE. OH, AND THEY COME IN INTERESTING COLORS, TOO.
To get the most out of the OmniMouse, it
is essential to pair it with a high-quality
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 charac-
teristics. We recommend you audition our
Robbie hybrid vacuum tube mic pre, which
was designed specifically to compliment our
microphone capsules and circuitry. To main-
tain the integrity of your signal, use the Blue
Kiwi high-definition mic cable, a braided-
shield quad-conductor. Whenever possible,
connect the mic preamp line output directly
to your recorder or A/D converter line
input, bypassing the mixing board and any
unnecessary components.
The most common configurations for the capsule are stereo spaced
pairs and the venerable Decca Tree. The spaced pair, as its name
implies, constitutes a pair of identical microphones placed at a certain
distance from one another on the same horizontal and vertical plane
equidistant from the sound source. Omnidirectional microphones are
the mics of choice for this application due to their relatively uniform fre-
quency response at most angles of incidence. Though there are few
hard and fast rules governing mic placement of spaced omnis, careful
attention to the phase relationship (time
arrival) between the two mics will yield the
best results. One rule that should be
observed is the 3:1 rule which states that the
mics in a spaced pair should be at least three
The Decca Tree has been used for years as an industry-standard technique for both
symphonic and choral recording as well as film scoring. This technique requires
three microphones, usually omnis, placed in a triangular array in front of the sound
source. The Decca Tree is also known as an “LCR” array for “left, center, right.” The
left and right mics are placed approximately six feet apart on the same horizontal
and vertical plane, just as in a spaced pair. The center is placed directly in between
the left and right mics, but approximately 4.5 feet in front of them, forming the
“point” of the triangle. This array can be constructed using three separate mic
stands but commercially-available Decca Tree fixtures are available and allow for ease of
setup and precise placement. The array is generally placed directly behind and a few feet
above the conductor. The benefit to the Decca Tree is its ability to provide a strong center
image while at the same time providing excellent spatial cues both horizontally across the
stereo field as well as a sense of depth. The Decca Tree also stands up very well to various
surround-processing systems which is why it is a favorite of film scoring and mixing engi-
neers. As with the spaced pair configuration, once you have achieved a good placement,
rotate the capsules for optimal pickup.
times further apart from one another than
from the sound source — if the mics are two
feet from the source, they should be at least
six feet apart; if they are 15 feet from the
source, they should be at least 45 feet apart
and so on.
STEREO SPACED PAIR
DECCA TREE
ERIES, ALL THE WAY UP TO OUR AWESOME BOTTLE MIC AND ITS FAMILY OF INTERCHANGEABLE CAPSULES. SO WHETHER YOU’RE RECORDING THAT NEXT PLATINUM ALBUM IN
A
STATE-OF-THE-ART STUDIO OR
A
DEMO FOR YOUR KID’S BIRTHDAY, BLUE HAS
A
MICROPHONE TO FIT YOUR NEEDS. AND YOUR BUDGET. VISIT
THE
WWW.BLUEMIC.COM AND SEE FOR YOURSELF. OR VISIT YOUR LOCAL
BLUE RETAILER AND AUDITION MIC FOR YOURSELF. GO AHEAD, STEP UP TO THE MIC.
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A recessed, threaded mic stand socket is built into the OmniMouse body, next to the XLR output jack. To mount the
OmniMouse on a stand, you may find it easiest to 1) loosen the boom stand arm or threaded end of the mic stand, 2) grasp the
mic in one hand, and 3) screw the mic stand threads into the OmniMouse mount. This procedure will eliminate any possibility of
handling damage to the mic. However, we recommend always using the included shock mount to better isolate the OmniMouse
from the physical environment, greatly reducing low-frequency rumble and other undesirable environmental sounds.
The OmniMouse requires 48 volt phantom power, which is standard with most mic preamps, mixing consoles, or separate
phantom power supplies. 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 OmniMouse and
microphone input jack, 3) turn on phantom power, 4) turn up the mic preamp gain, etc. To disconnect or re-route the
OmniMouse, 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.
Acoustical Operating Principal Pressure
Directional Pattern
Omnidirectional
20Hz – 20KHz
8mV/Pa
FREQUENCY & POLAR RESPONSE
Frequency Range
+
0°
20
125Hz
5
45°
315°
Sensitivity at 1 kHz into 1kΩ
Output Impedance
250Hz
500Hz
1kHz
10
15
20
+
10
150 Ω
25
dB
dB
90°
270°
225°
2kHz
4kHz
8kHz
16kHz
Rated Load Impedance
S/N ratio DIN/IEC 651
Noise Level DIN/IEC 651
Not less than 1 kΩ
74dB-A
-
10
-
20
135°
20dB-A
30 40 50
100
500
1kHz
5kHz 10kHz 20kHz
180°
This frequency chart is only a start. It gives the recordist a basis of the sound provided. How the microphone reacts in a particular application will differ greatly because of many variables. Room
20
Max SPL (0.5% THD) into 2.5kΩ 145dB
Dynamic Range (2.5kΩ load) 96dB
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acoustics, distance from sound source (proximity), tuning of the instrument and mic cabling 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.
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