the Mouse on a boom stand, and tilt 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 the chest for more robust lows and smoother highs.
Acoustic Guitar
Large diaphragm mics require careful placement when used on acoustic guitar, but the transparency and superb tran- sient response of the Mouse are well-suited to this job. In fact, reviewers have raved about the Mouse after trying it on acoustic guitar, resonator 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 – 14th frets). For starters, keep the mic as close as possible, and tilt the cap- sule 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 posi- tion, or above the instrument up by the guitarist’s head.
Electric Guitar
The Mouse is an excellent mic for any clean amp sound, rang- ing from bright rhythm chords to warm jazzy tones. Rotate the capsule toward the center of the speaker to capture more highs, or turn the capsule toward the edge of the cone for a fuller sound with more low end. For overdriven or dis- torted tones, move the mic towards the outer edge of the cone, or back it away from the amp a foot or more to add a little room sound and soften the extreme high end.
Drums
The rotating capsule, superior sound pressure handling capa- bility, and fast transient response of the Mouse offer numer- ous 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 snare. Moving the microphone closer to a drum generally increases 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.
Percussion
On tambourine, shaker, bells, clave, and orchestral percussion the Mouse offers astounding clarity and realism. And unlike most large diaphragm microphones, the Mouse can be posi- tioned quite close to a percussive source without distortion or undue proximity effect. Start by placing the microphone about a foot from percussive instruments. Moving the mic closer will emphasize detail and tone, as well as decreasing the proportion of ambient room sound on a track. More distant placement will yield a natural, roomy sound that blends easily with other rhythm instruments.
Enjoy!
First and foremost, the Mouse has been designed to provide the commanding, intimate presence associated with the
Mouse Capsule Frequency Response
Decibles(dB) | -8 | | | | | | | | | | | | | | | |
| -4 | | | | | | | | | | | | | | | |
| -12 | | | | | | | | | | | | | | | |
| | | | | | | | | | | | 5K | | | |
| 20 | 30 | 50 | 70 | 100 | 200 | 300 | 500 | 800 | 2K | 3K | 7K | 10K | 22.05K |
Frequency (Hz)
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.
world’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 the BLUE Cranberry high-definition mic cable going into the mic preamp. And, whenever possible,
