Mouse Manual

Mouse

Congratulations on your purchase of the Blue Mouse, a classic

modern microphone made the old-fashioned way, without

compromise. The unique rotating capsule (also utilized on the Blue

Dragonfly) makes this one of the most versatile and snazzy-looking

mics you’ll ever lay eyes on. And beneath the handsome exterior,

you’ll find that the Mouse is a precision recording tool, combining

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 rotating 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 contemporary microphones.

First and foremost, the Mouse has been designed to provide

compression, as is standard practice for most pop vocals, tracks

recorded with the Mouse will be free of pumping and low end

thumps. Acoustic guitar, 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 delicate

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 electrical energy) as

accurately as possible, with no integrated circuits (a.k.a “IC’s”)

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,

try using Blue’s Quad or Dual high-definition mic cable along with

Blue’s outstanding Class-A vacuum tube mic preamp, Robbie. And,

whenever possible, connect the mic preamp output directly to your

recorder or A/D converter, bypassing the mixing board and any

unnecessary components.

To secure the delicate capsule during transport and storage, two

transit screws are provided. These screws go into the solid metal

stand. To fit the Mouse into this assembly, first open the wire latches

on the upper and lower circular padded bands situated inside the

shockmount frame. Then simply slide the Mouse into the bands, and

close the wire latches to tighten the bands around the microphone.

The angle of the mount assembly can be swiveled and adjusted with

the large thrumbscrew, which will normally be positioned at the rear

of the mic. Once you have the Mouse secured in its shockmount, you

may find it easiest to attach the assembly to a stand by 1) loosening

the boom stand arm or threaded end of the mic stand, 2) grasping

the mount assembly in one hand, and 3) screwing the mic stand

and then by shockmounting of the grille assembly where it contacts

the U-shaped yoke. Also, don’t forget to check out The Pop, Blue’s

elegant and durable, adjustable universal windscreen.

The Mouse requires 48 volt phantom power, which is standard with

most mic preamps, mixing consoles, or separate phantom power

supplies. It is important to note that some units, though rated at 48

volts, may supply insufficient or unstable phantom power, which can

result in distortion and/or degraded performance when used with

the Mouse.

To avoid damage to audio components when connecting phantom

seconds before disconnecting the mic.

This frequency chart of the Mouse capsule 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 acoustics, distance from sound source (proximity), tuning of the

instrument and microphone cabling are only a few of the interacting issues. For an artist or engineer, how the microphones are used creates the

basis of the sound.

Mouse with The Shock

Mouse Frequency & Polar Response Charts

performance that sits perfectly in the mix with little or no

additional equalization. The Mouse is also an outstanding choice

for narration and voiceover work.

For that “big” vocal sound with maximum presence, get the vocalist

within one to three inches of the capsule. There is no need to worry

about overloading the microphone capsule, but be sure to use The

Pop or a mesh windscreen to protect the diaphragm at this distance.

Mount the Mouse on a boom stand, and title the capsule up (toward

the forehead) for more projection and head tone, straight on at the

mouth for maximum brightness and intelligibility, or down toward

guitar, and mandolin. For a balanced sound with plenty of sparkling

high end, position the microphone facing the guitar neck, right

where the neck joins the body (usually around the 12th- t=14th

frets). For starters, keep the mic as close as possible, and tile 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 Mouse farther from

the guitar, either at the same neck position, or above the instrument

up by the guitarist’s head.

to add a little room sound and soften the extreme high end.

The rotating capsule, superior sound pressure handling capability,

and fast transient response of the Mouse 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.

Turning 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