Piano
Pop and jazz piano recording is usually accomplished with a pair of microphones placed inside a grand piano, either close to the hammers for a defined, percussive sound, or roughly in the middle of the piano body to get a more resonant and blended tone. When using these methods, it is conventional to employ a coincident stereo pair, with one microphone capsule oriented to pick up the treble strings, and the other
Kiwifocused on the bass range of the instrument.
A less common, though very useful technique, is to position a stereo pair or single Kiwi microphone just outside of the piano, either in the curve of a grand, above an upright, or a few feet away for a
Saxophones and Reeds
For soprano sax, clarinet and related instruments, position the mic about a foot away, directly above and in front of the keys between the middle of the horn and the lowest pads. Try rotating the capsule or 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).
For other members of the saxophone family, start by placing the capsule two to six inches in front of the lip of the bell. Turn the capsule up toward the mouthpiece, or raise the micro- phone above the bell to capture more air, brightness, and high notes. For a mellower sound, rotating the microphone toward the floor emphasizes the low range of the sax, and tames the biting upper mids that project straight out of the bell, particularly on alto saxophone. Omnidirectional and sub- cardioid pickup patterns tend to soften the edge of
Brass
All members of the brass family need to be miked from in front of the bell. But for studio recording it is not necessary to aim the microphone capsule right down the center of the bore, or place it too close. The trumpet, with its directional characteristics, high sound pressure level, and limited fre- quency range, will yield a clear, cutting tone at distances ranging from 6 inches to 2 feet. The trombone and tuba can be approached similarly, although closer miking toward the outer edge of the bell (4 to 8 inches), and the enhanced proximity effect of supercardioid and figure of eight pickup patterns will help offset a thin or overly bright timbre.
Capturing a mellow, rounded tone is a challenge with any brass instrument. To avoid buzzy highs and transient over- loading, persuade the player to blow at less than peak stage volume. Cornet and flugelhorn usually have a softer, more intimate sound, are played at lower volume, and can be miked at a distance of 2 to 6 inches.
Drums
For kit and hand drums, begin by positioning the capsule 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 cap- sule 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 in- creases 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 Kiwi will produce an interesting personality when used at a distance of four feet or more as an ambient room mic on drums. Many modern recordings have benefited from the unique sound of minimalist drum miking, where one to three micro- phones are strategically placed to capture the entire set, along with the characteristics of a
Percussion
On tambourine, shaker, bells, clave, and orchestral percussion the Kiwi offers astounding clarity and realism, and can be positioned quite close to a percussive source without distortion or undue proximity effect. Start by placing the Kiwi about a foot from percussive instruments. Selecting a cardioid pickup pattern, or moving the mic closer to the source will empha- size detail and tone, as well as decreasing the proportion of ambient room sound on a track. More distant placement, or the use of an omnidirectional or figure of eight pattern will yield a natural, roomy sound that blends easily with other rhythm instruments.
| Bottle (w/B6) |
| Cardioid |
| 20mV/Pa | 200ohms |
| 76dB | 134dB | 98dB | Power Supply 9610 | 1700g | 390x90 | ||
| Cactus |
| multipattern |
| 18mV/Pa | 150ohms |
| 71dB | 130dB | 97dB | 800g | 230x50x30 | |||
| Kiwi | gradient | 20KHz | 19mV/Pa | 150ohms | Not less than 1kohms | 76dB | 133dB | 95dB | 48V phantom powered | 880g | 220x60 | |||
| Dragonfly | Pressure | Cardioid | 20Hz – | 21mV/Pa | 50ohms | 76dB | 132dB | 96dB | 630g | 165x60 | ||||
| Mouse |
| Cardioid |
| 21mV/Pa | 150ohms |
| 76dB | 134dB | 96dB | 980g | 165x65 | |||
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| Blueberry |
| Cardioid |
| 20mV/Pa | 150ohms |
| 75dB | 133dB | 95dB |
| 520g | 235x50x30 | ||
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Technical Data | Microphones | Acoustical operating principal | Directional Pattern | Frequency range | Sensitivity at 1 kHz into 1 kohm | Rated impedance | Rated load impedance | S/N ratio | S/N ratio DIN/IEC 651 | Noise level DIN/IEC 651 | Maximum SPL for THD 0.5% | Dyn. range of the mic amplifier | Supply voltage | Weight | Dimensions (mm) |
In keeping with our policy of continued product improvement, Baltic Latvian Universal Electronics (BLUE) reserves the right to alter specifications without prior notice.