The Mouse’s hand-tuned capsule is specifically designed to capture the thundering lows of bass and baritone vocals and low-end instrument sources. Enclosed within a rotating spherical grille, the capsule can also be positioned and adjusted into the smallest of spaces for applications where versatility is paramount. The Mouse is perfectly suited for kick drums, acoustic bass, electric bass amplifiers, snare drums, broadcast and voiceover work, and any other sources where accurate reproduction of low frequency transients is paramount.
The Mouse is a pressure-gradient cardioid condenser micro- phone, 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 rotat- ing 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 contempo- rary microphones.
First and foremost, the Mouse has been designed to provide the commanding, intimate presence associated with theworld’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 gui- tar, 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 deli- cate sounds to cut through a mix, even at very low levels.
The Mouse circuitry is based on a Class A, fully discrete circuit. In plain English, this means that the sound which arrives at the diaphragm is transduced (converted to elec- trical 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 protec- tion for outside interference such as radio type frequencies (RF). These models are also designated by their difference in body color. 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. To maintain the integrity of your signal, use Blue’s Quad high-definition mic cable going into the mic preamp. And, whenever possible, connect the mic preamp output directly to your recorder or A/D con- verter, bypassing the mixing board and any unnecessary components.