User Manual

Following are some application tips that will help you
to get the most out of the Bluebird.
Here’s a little-known secret — vocalists
love singing into unique and impressive
mics like the Bluebird. For a “big” vocal
sound, position the vocalist within one
to four inches of the capsule. There is
no need to worry about overloading the microphone, but
be sure to use the supplied metal mesh pop filter to protect
the diaphragm. Tilt the microphone upward (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 full lows and
smoother highs.
Because of its robust characteristics,
the Bluebird is an excellent mic for any
clean guitar sound. Position the capsule
toward the center of the speaker to
capture more highs, or toward the edge
of the cone for a fuller sound with more bottom 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. Give the Bluebird a try on electric bass,
blues harmonica, and organ too!
Large diaphragm mics require careful
placement when used on acoustic guitar,
but the Bluebird’s shimmering high end
is well-suited to this job. For a balanced
sound with plenty of sparkling high
end, place the microphone facing the guitar neck, right
where the neck joins the body (usually around the 12th
– 14th frets). For starters, keep the mic as close as possible,
and tilt the capsule toward the soundhole to capture a
blend of low end and pick sound. If you need more lows,
move the microphone closer to the soundhole. For more high
end detail, move the Bluebird farther from the guitar,
either at the same neck position, or above the instrument
up by the guitarist’s head.
Because o
f its n
atur
al hi
ghs and soft
m
idrange characteristics, the Bluebird is
an excellent choice for miking all members
of the bowed string family. In general,
the capsule should be positioned toward
the instrument’s bridge to pick up a blend of resonance
and bow sound. On bass and cello, placement from 3 to
6 inches in front of the bridge is usually ideal. For violin
and viola, it is preferable to position the microphone 1
to 2 feet above th
e in
strum
ent. Angle the capsule
toward the bridge for more bow sound and low tones, or
move the microphone toward the tuning pegs to capture
a m
or
e diffuse
, bri
gh
t, an
d blen
ded sound.
The Bluebird’s slim profile and fast
transient response offer numerous
advantages when recording 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 capsule toward the player’s stick or
hand to pick up more attack and definition. Positioning
the capsule toward the shell will soften the sharp attack
of a hand drum, or pick up more of the bright, crackling
buzz from a snare. 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.
The extended high end response of the
Bluebird makes it an ideal choice for
modern tonality when miking saxo-
phones and other wind instruments. For
soprano sax, clarinet, and related instru-
ments, position the capsule directly
above and in front of the keys between the middle of the
horn and the lowest pads. Try 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). On flute, start by placing the
Bluebird above the middle of the instrument, and move
the capsule closer to the mouthpiece if more highs and
breath sound is desired. For other members of the saxo-
phone family, start by placing the Bluebird two to six
inches in front of the lip of the bell. Angle the capsule
up toward the mouthpiece to capture more air, bright-
ness, and high notes. For a mellower sound, orienting
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.
We hope you enjoy your purchase and find the Bluebird to
be an ideal mic for a wide spectrum of instrumentation
and recording needs.
Electric
Guitar
Strings
Saxes,
Flutes &
Reeds
Drums
Vocals
Acoustic
Guitar
Technical Data
Transducer Type
Polar Pattern
Frequency Response
Sensitivity
Output Impedance
Rated Load Impedance
Maximum SPL
S/N Ratio
Noise Level
Dynamic Range
Power Requirement
Weight
Dimensions
Condenser, Pressure Gradient
Car
dioid
20Hz – 20kHz
27.0mV/Pa at 1kHz (1Pa=94dB SPL)
50
Ω
>1
kΩ
138 dB SPL (2.5kΩ, 0.5% THD)
87 dB-A (IEC 651)
7 dB-A (IEC 651)
131 dB (@ 2.5k
Ω)
+48V DC Phantom P
o
w
er (IEC 268-
15)
480g
222mm x 45mm