Blue Microphones warranty Vocals, Optional Mouse shockmount

connect the mic preamp output directly to your recorder or A/D converter, bypassing the mixing board and any unnecessary components.

The single set screw at the top of the capsule should be left in place at all times, as it stops the grille from rotating 360 degrees. The circular white plastic cap located underneath

the grill assembly of the Mouse is for shipping pur- poses and should be removed before use. Gently lift the Mouse grill assembly and turn it at a 90 degree angle. Lift the plastic piece out and store it in a safe place for future shipping if needed.

A recessed, threaded mic stand socket is built into the Mouse body, next to the XLR output jack. To put the

Mouse on a stand, you may find it easiest to 1) loosen the boom stand arm or threaded end of the mic stand, 2) grasp the mic in one hand, and 3) screw the mic stand threads into the Mouse mount. This procedure will eliminate any possibility of handling damage to the mic.

The Mouse Shockmount is available as an option, but should not be necessary for most studio applications. Complete internal shock mounting is built into the Mouse at two

The optional Mouse shockmount

stages; first by suspension of the capsule within the grille on three rubber stems, and then by shockmounting of the grille assembly where it contacts the U-shaped yoke. The

handbuilt Mouse Pop Filter will provide protection to the valu- able microphone capsule and provide a means to minimize “P” popping sounds from voice work.

The Mouse requires 48 volt
phantom power, which is stan-
dard 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 un-
stable phantom power, which
can result in distortion and/or
degraded performance when
used with the Mouse.	Mouse Pop Filter

To avoid damage to audio components when connecting phantom power, follow this simple procedure: 1) turn down the mic preamp gain, headphones, and your studio monitors,

2)connect microphone cable to the Mouse and microphone input jack, 3) turn on phantom power, 4) turn up the mic preamp gain, etc. To disconnect or re-route the Mouse, 1) turn down the mic preamp gain, headphones, and your studio monitors, 2) turn off phantom power and wait 10 seconds before disconnecting the mic.

Once the Mouse is on the stand and powered up, make sure that the active, on-axis side of the capsule (the shiny hemi- sphere of the grille) is facing the desired source. For exam- ple, if you are speaking into the mic, the Blue logo and shiny hemisphere will be in front of your mouth, and the solid metal ring around the circumference of the grille will be aligned vertically, with the single set screw in place on the top of the grille. The Mouse is a cardioid mic, and is designed to reject off-axis sound arriving at the back of the capsule (the dull metal hemisphere). And now, here are some recording tips that will allow you to get the most out of the Mouse and its elegant rotating capsule!

Vocals

Here’s a little-known secret —vocalists love singing into unique and impressive mics. And in addition to its good looks, the Mouse was developed especially to enhance the airiness and detail in any voice, while diminishing the proximity-induced lows which can cloud a mix or produce compression artifacts. Put it in front of any singer and you are guaranteed to get a 110% inspired 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 Mouse pop filter or a mesh windscreen to protect the diaphragm at this distance. Mount