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Resumen del manual
Blue Microphones, OmniMouse, Mouse, Baby Bottle, Kiwi, Bluebird, Cactus, Bottleand 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 superb deta OMNIMOUSE ongratulations on your purchase of the Blue OmniMouse, a modern classic made the old-fashioned way — without compromise. Our stunning finish and unique rotating capsule make OmniMouse one of the most interesting and beautiful microphones you’ll ever lay eyes on. And beneath the handsome exterior, you’ll find that the OmniMouse is a precisioncrafted recording tool, combining the low noise and superb detail of our Class-A discrete handmade electronics with the bold, larger-than-life sound of our handmade B4 true pressure omni capsule. 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. The OmniMouse was designed to provide the commanding, largerthan- life sound associated with the most sought-after (and most expensive) vintage orchestration microphones. With its luxurious high-frequency response, focused mid-range, and outstanding bass response, the OmniMouse captures the full range of symphonic and choral recordings naturally and musically with depth and clarity. The OmniMouse also excels at ambient recording, capturing room tone with the most intimate detail — whether for rock drums, guitars or even vocals — any application where some natural space in the recording is desired. C LIKE ALL BLUE MICROPHONES, THE OMNIMOUSE HAS BEEN DESIGNED WITH A SPECIFIC SONIC SIGNATURE THAT IS DISTINCT FROM OTHER MICROPHONES. BUT THAT’S TRUE OF ALL OUR MICROPHONES, FROM OUR BUDGET-MINDED BALL SERIES, SO, A LOT OF PEOPLE COME TO US AND ASK, “WHY DO YOUR MICS HAVE SUCH WEIRD NAMES?” WELL, DECCA TREE 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 frequency 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 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. SERIES, 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 US ON THE WEB AT WWW.BLUEMIC.COM AND SEE FOR YOURSELF. OR VISIT YOUR LOCAL AUTHORIZED BLUE RETAILER AND AUDITION A MIC FOR YOURSELF. GO AHEAD, STEP UP TO THE MIC. 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 A MOUSE. OR AN OMNIMOUSE. OH, AND THEY COME IN INTERESTING COLORS, TOO. 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 ...