![Acoustic Guitar](/images/new-backgrounds/193048/1930485x1.webp)
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
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
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| 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
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
The Mouse is available with two different output circuitries— transformer and transformerless. The main difference between these designs is that the
To get the most out of this, or any quality microphone, it is essential to pair it with a good microphone