Bottle Brochure 4 PDF
Contents
1. aaa on your purchase of the BLUE Bottle a classic modern vacuum tube microphone made the old fashioned way without compromise In every industry cameras automobiles audio and more there are a handful of small companies reputed for a rare blend of scientific precision and artistic passion You know who these artisans are their trademarks are synonymous with the ultimate in hand crafted perfection Our flagship The Bottle microphone parallels this vision representing BLUE s highest achievement in quality and innovation The Bottle is a precision recording tool combining the low noise and superb transient response of top grade electronics with the sonic magic of legendary vintage vocal microphones The Bottle is not simply a microphone but a fully featured micro phone system with eight optional interchangeable capsules In an instant these bayonet mount capsules can be exchanged to provide different tonal characteristics and pickup patterns while the power supply is still turned on The basic Bottle system includes a B6 cardioid capsule Champagne tube microphone cable and the 9610 Tube Mic power supply shipped in a blue velvet lined ATA flight case approved for the Inside the Bottle utmost protection The Bottle is finished in a luxurious blue lacquer paint with other colors available by special order Additional capsules are available from your pro audio dealer and you ll find a complete list o2. A precise servo system is used to maintain the DC plate voltage at a constant level This keeps the tube in peak condition despite its natural aging If a new tube is installed this servo circuit keeps the tube working optimally This unique circuitry at the time of this writing has not been used in any commercially available microphone The servo system uses an integrated circuit with high time constant value and is external to the signal path The amplifier input is separated from the microphone capsule with a Capacitance consisting of two styroflex caps one ten times the value of the other mounted on special Teflon isolators Both the tube grid and the microphone capsule are controlled through high quality low noise 0 5W 400Mohm resistors The capsule s polar ization voltage is fed through two low pass filters to enable user selectable control over the sensitivity of the capsule This voltage is adjustable by a multi position switch on the power supply with ranges from 30 1V 6dB up to 95 1V 4dB with a mid point of 60V 0dB All of The Bottle s internal wiring is oxygen free copper Teflon insulated 9610 Power Supply No other commercially available tube mic power supply offers the unique features of the BLUE model 9610 To assure the longevity of the vacuum tube and the stability of the tube microphone cir cuitry BLUE has developed the 9610 power supply with the new SOFT START feature In the past power supp
3. high end detail and focus prevent ing distant sounds from becoming overly diffuse or washed out call this the audiophile capsule traditionally Perspex sphere micro phones are highly regarded for distant miking of classical instru ments and ensembles And along with the BO and B2 capsules the B4 offers maximum low end pickup ranking as a particularly useful and unique tool for studio recording Expect some ambient pickup of low end noise air conditioning rumble etc and 4 to 8 dB lower output relative to other capsules MB RECOMMENDED FOR Orchestral sounds classical instrumentation snare bass drum background vocals organ accordion tuba and sousaphone distant miking of any source particularly bowed strings clean electric guitar and drums B5 PRESSURE OMNI LARGE DIAPHRAGM The Presence Omni Frequency response peaks at 3 5kHz and 12 15kHz give this capsule a distinctively bright and incisive timbre The B5 is particularly use ful for close miking acoustic guitar yielding an characteristic classic rock pop sound with a proximity induced thump at 125 Hz SW The B5 is distinguished by super detailed highs and attenuated lower midrange to bass response Along with the BO this is the brightest of the BLUE capsules and can supply significant presence boosting on dull quiet or indistinct sources Low end pickup and proximity effect are minimal compared to other capsules making this an ideal candidate f
4. if the serial number has been altered removed or defaced The warranty is void if the equipment is altered misused mishandled maladjusted or is serviced by any parties not autho rized by Baltic Latvian Universal Electronics BLUE The warranty does not include transportation costs incurred because of the need for service unless arranged for in advance Baltic Latvian Universal Electronics BLUE reserves the right to make changes in design and improve upon its products without obligation to install these improvements in any of its products previously manufactured This warranty is in lieu of any or all expressed or implied
5. 0K 22 05K Frequency Hz This frequency chart of the Bottle B6 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 Recording and Capsule Applications Vocals Here s a little known secret vocalists love singing into unique and impressive mics And in addition to their classic good looks The Bottle large diaphragm vocal capsules B0 B6 B7 were 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 them 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 addi tional equalization These capsules are also outstanding for nar ration and voice over work The B3 capsule is an excellent choice for vocalists who don t require a built in microphone presence boost especially female singers For vocalists that are indistinct soft spoken or don t provide sufficient intelligibility on a large diaphragm microphone the Bl capsule is highly recommended And for ballad crooners and a variety of his
6. ailored to resemble the big warm sound and open pickup pattern of a vintage ribbon microphone When worked close this capsule is reminiscent of the Bing Crosby Sound with soft highs and an enhanced proximity effect SW The B2 offers a thick and compressed tonality with an aggressive upper midrange and big low end response on par with the BO and B4 capsules It has a distinctively mellow high end compared to other BLUE capsules and does a remarkable job of capturing the gentle timbre and roomy pickup of a ribbon microphone without the fragility or low output problems of a classic specimen The prox imity effect of this pattern is pronounced and can be used to great effect on vocals and soloists whether one is pursuing experimental modern techniques or recalling historical recording styles MB RECOMMENDED FOR Emulation of vintage saxophone brass guitar or vocal sounds jazz ensembles and horn sections muted trumpet flugelhorn and other low brass instruments clarinet overly bright or edgy instruments room miking acoustic bass cello and other bowed string instruments electric bass clean or distorted electric guitar pedal steel and slide guitar whistling organ e B3 Carp o p Mip siZED DIAPHRAGM The Neutral Capsule This is our most accurate and in a purely technical sense best capsule The B3 has a soft midrange boost to detail the center frequencies in a program source SW In the tradit
7. assic common cathode circuit using a current source for the plate load rather than the more commonly used simple resistor The amplified signal is taken from the plate and fed through a high quality Hovland polypropylene capacitor bypassed by a smaller value polystyrene capacitor Russian MIL spec and output to our BLUE custom handbuilt transformer Both of these capacitors have a low dielec tric absorption coefficient and a low equivalent series resistance These parameters are essential to high end audio and are not present in lower priced microphones D A dielectric absorption is reluctance on the part of the Capacitor to give up stored electrons when the capacitor is dis charged E S R equivalent series resistance is the resistance composed of the capacitor plate lead and termination resistances If the capacitors used in the audio path possess high values of D A and E S R the result is a loss of accuracy and dynamic structure when reproducing the finer details of the recorded source Under these conditions a definite grunge or hashy distortion is added to the reproduced signal The BLUE hand built Bottle microphone transformer is balanced using a symmetrical two bobbin design i e humbucking with a transforming ratio of 13 1 With this ratio the microphone achieves a low output impedance typically 110 ohms The primary transformer windings are connected in series The transformer s secondary windings are connect
8. attern Sensitivity at 1 kHz into 1 kohm 20mV Pa 21mV Pa 21mV Pa 19mV Pa 18mV Pa 20mV Pa Rated load impedance S N ratio DIN IEC 651 Noise level DIN IEC 651 Maximum SPL for THD 0 5 Dyn range of the mic amplifier 95dB 96dB 96dB 95dB 97dB 98dB Pressure gradient 20Hz 20KHz iscohms 1500hms Soohms 1500hms 150ohms 2000hms Not less than 1kohms BB 15308 48V phantom powered Power Supply 9610 520g 980g 630g 880g 800g 1700g 235x50x30 165x65 165x60 220x60 230x50x30 390x90 In keeping with our policy of continued product improvement Baltic Latvian Universal Electronics BLUE reserves the right to alter specifications without prior notice j Aa Classic microphones made without compromise DAC LATVIAN UNIVERSAL ELECTRONICS P O Box 910 Agoura Hills CA 91376 0910 Phone 818 986 2583 Fax 818 784 7564 www bluemic com Warranty This Microphone or related part is warranted under the conditions outlined below to its original registered owner provided the purchase was made from an authorized Baltic Latvian Universal Electronics BLUE dealer This Microphone or related part is guaranteed to remain free from operating defects for one year from the date of purchase In the event that service is required all necessary parts and labor will be furnished free of charge during this period except for tubes which are guaranteed for 90 days against defects This warranty is void
9. e piano either in the curve of a grand above an upright or a few feet away for a classically oriented sound with significant room ambience For these applications the larger diaphragm B3 and B6 are recom mended along with the omnidirectional B4 Saxophones and Reeds The smooth high end response and large diaphragm warmth of the B2 B3 or B7 capsules make them ideal candidates for miking saxophones and other reed instruments For soprano sax clarinet and related instruments position the mic 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 microphone above the bell to capture more air brightness and high notes For a mellower sound rotating the capsule 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 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
10. e pin locks into the short leg of the slot and holds the capsule securely You will notice that the stem pivots back and forth over a range of about 45 degrees to aid in placement and angling of the capsule When exchanging capsules there is no need to turn off the 9610 power supply A low level audio signal is present whenever a capsule is removed so it is good engineering practice to mute or turn down the microphone preamp gain and monitors before changing capsules The Capsule Selection Individual commentaries on each capsule are provided by Skipper Wise President of BLUE and Myles Boisen Head Engineer Guerrilla Recording Oakland CA and freelance writer reviewer for Electronic Musician magazine BO CARDIOID LARGE DIAPHRAGM SINGLE BACKPLATE The Ultimate Big Vocal Sound The BO is a bright single back plate capsule tuned rather high like our Blueberry microphone It is similar in tone to the B6 with an added sparkle of air in the extreme high end To obtain the ultimate Big Vocal Sound work the BO close with a pop filter SW This capsule exhibits lots of cutting power and airy response and iS particularly useful for an enhanced pop music vocal presence requiring extended highs and lows Along with the B5 this is BLUE s brightest capsule but it also offers dramatic low end pickup like the B4 and B2 The BO delivers a larger than life sound that expands on the tonality of the B6 and B7 capsules with a more o
11. ed in parallel and connect directly to the XLR output pins The transformer lamination has a high relative permeability which is one of the factors contributing to For those interested in detailed description how capacitors affect the audio circuitry read the 1980 March amp April AUDIO Magazine article by Walter G J ung and Richard Marsh entitled Pl CKI NG CAPAC TORS low distortion and higher dynamic range A permalloy circular housing covers the transformer thus providing additional isola tion from external magnetic fields The Bottle microphone employs an EF86 pentode vacuum tube connected in a triode mode The third grid of the EF86 is connected with a cathode and is grounded The plate voltage is at 65 0 VDC and the plate current is 0 6 mA The heater voltage is kept at a optimum 6V to ensure the longevity of the tube Each EF86 is tested by BLUE engineers for self noise level AC amplification factor and THD distortion Measurements are taken twice on each tube first after a 24 hour burn in period in the working mic circuit and then again after a similar 21 day burn in period The tube is mounted on custom made dampers to minimize microphonics A custom rubber string is applied for dampening and holding the tube firmly in its socket A Wilson current mirror the most accurate solution for a current source circuit uses four thermo coupled solid state devices These discrete devices are separate from the signal path
12. f capsules detailed herein In order to familiarize yourself with the Bottle s specialized and unique features please take the time to read this manual and be sure to try the sug gested recording tips The Bottle One of the questions most commonly asked of BLUE Bottle micro phone owners is What s in that thing The Bottle is unques tionably an impressive sight with its imposing size and nostalgic resemblance to the earliest European tube microphones Like the mics of yesteryear the Bottle canister is not just for looks but also holds a small fortune in precision electronics The internal circuitry of The Bottle is thoroughly modern of course with an amplifier design utilizing a single hand selected vacuum tube pentode EF86 in triode mode The tube circuit is Class A and fully discrete meaning that the sound which arrives at the diaphragm of the BLUE capsule is transduced converted to electrical energy as accurately as possible with no integrated circuits a k a IC s in the signal path To this end The Bottle utilizes electronic components of the highest quality such as expensive metal film resistors and a large custom built trans former and there are no pad or low cut filter switches in the microphone circuit In short this is a signal path of the highest possible quality allowing the user to get the maximum benefit out of the unprecedented capsule selection created by BLUE In order to get the most out o
13. f 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 And unlike many tube microphones the Bottle can be run through a variety of tube preamps without excess coloration noise loss of detail or tube compression To maintain the integrity of your signal use the BLUE Kiwi mic cable going into the mic preamp It is not necessary or advisable to connect the Bottle Mic 9610 power supply to a 48V phantom power source And whenever possible connect the mic preamp output directly to your recorder or A D converter bypassing the mixing board and any unnecessary components A recessed threaded mic stand socket is built into the bottom of the Bottle canister next to the multi pin output jack To put the Bottle 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 Bottle in one hand and 3 screw the mic stand threads into the threaded mount This procedure will eliminate any possibility of handling damage to the mic SAFETY NOTE Do not attach a capsule or the multi pin Champagne cable to The Bottle until it has first been attached to a stand Once the microphone body is secure connect the Champagne cable to The Bottle and the 9610 power supply and then turn on the 9610 to start the
14. hasizes the Interaction of the drum and the environment producing a blended airier sound For a full drum kit the small diaphragm B1 is an excellent choice as either a mono or stereo pair overhead microphone And any of the BLUE capsules will produce an interesting personality when used at a distance of four feet or more as an ambient room mic on drums Many modern pop recordings as well as classic jazz blues and R amp B sessions have benefited from the unique sound of minimalist drum miking where one to three microphones are strategically placed to capture the entire set as well as the char acteristics of a well tuned studio room Percussion On tambourine shaker bells clave and orchestral percussion the small diaphragm B1 large diaphragm BO B6 and B7 or omnidi rectional B4 and B5 capsules 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 Bottle about a foot from percussive instruments Selecting a cardioid capsule or moving the mic closer to the source will emphasize 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 capsule will yield a natural roomy sound that blends easily with other rhythm instruments Can t decide on a capsule J ust spin the Bottle Technical The Bottle vacuum tube amplifier consists of a cl
15. ion of classical recording microphones this capsule does little to flatter or enhance the recorded source but rather tells it like it is The high end response is smooth with exemplary tran sient response and midrange to low end pickup appears to be flat Though its timbre is not dramatic compared to other BLUE capsules the B3 is noteworthy for its uncommon ability to convey a source with neutrality and veracity just as it may sound in the room MB RECOMMENDED FOR Female vocals distant miking of orchestral groups and instruments banjo mandolin resonator guitar jazz guitar distorted electric guitar electric bass a natural or folky tone on nylon and steel string acoustic guitar oboe bassoon and other double reeds piano organ o B4 PERSPEX SPHERE PRESSURE OMNI SMALL DIAPHRAGM The Big Omni The B4 represents our finest crafts manship evoking an ethereal quality sought after by producers and engi neers alike The Perspex sphere which houses our small diaphragm capsule hand built by BLUE engineers is a unique design made popular in the 1950 s on the RCA Red Seal series re cordings For room sounds and ambi ent drum recording nothing parallels the sound of this capsule SW l The B4 s sweet highs are never harsh S or strident and the bass response ae Se below 120 Hz is unusually robust for an omnidirectional microphone This capsule s smooth presence lift conveys an extra measure of
16. its directional characteristics high sound pressure level and limited frequency 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 will help to 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 overloading per suade the player to blow at less than peak stage volume and use a large diaphragm capsule such as the B2 B3 or B7 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 The superior sound pressure handling capability high end detail and fast transient response of the BLUE BO Bl B3 B6 or B7 capsules offer numerous advantages when recording 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 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 emp
17. lies have been designed to use both heater and plate voltages applied simultaneously once power has been Switched on In this case the high voltage potential on the plate forcefully attracts electrons from the not yet heated cathode a process is known as cathode stripping In practicality this means that each time the power supply is switched on the microphone tube changes its electrical properties To put it simply the tube begins to wear and gets noisier To avoid this problem the 9610 s SOFT START feature delivers the tube s heater voltage first The 9610 s circuitry also prevents the heater current from exceeding the limits for which the tube was designed Without this feature the cold heater would draw more current than specified and begin to deteriorate the valuable microphone tube After approximately 80 seconds when the cathode is fully heated the plate voltage is gradually applied starting from 10V to 120V or other voltage depending on the microphone circuitry During this time the output of the micro phone is muted After about three minutes the tube is settled in its correct operat ing mode the muting is disabled and audio is present Both the heater and the plate voltages are ultra stable and non dependent on AC main changes or fluctuations For AC rectification the 9610 uses only high frequency diodes to obtain the purest DC possible And most importantly the plate voltage supply is of low impedance which imp
18. n electric guitar jazz guitar distant miking of acoustic or resonator guitar Foley and sound effect recording extremely quiet sources B7 CARDIOID LARGE DIAPHRAGM SINGLE BACKPLATE The Classic Vocal Sound This single backplate capsule is our version of the unmistakably warm sound ascribed to the great 1950 s tube microphones A boost in the upper midrange response brings out just the right amount of intimate detail for vocal tracks that demand extra presence SW The B7 has a familiar classic tube microphone signature charac terized by smooth highs and a forward midrange that is ideally suited to vocals saxophones electric guitar and other instrumen tal solos It is the most understated of the BLUE large diaphragm vocal capsule trio exhibiting a silky compressed tone and less presence boost than either the B6 or BO The natural high end response of this capsule is the perfect complement for midrangy or thin voices as well as any rock soul blues jazz vocals that need to sit in the mix MB RECOMMENDED FOR Lead vocals background vocals saxophone flugelhorn clean or distorted electric guitar pedal steel and slide guitar organ con ventional jazz recording Overview of The Vocal Capsules First and foremost the three BLUE large diaphragm vocal capsules BO B6 B7 have been designed to provide the commanding upfront presence associated with the world s best and most expensive vocal microphones With
19. or close miking many acoustic instruments MB RECOMMENDED FOR Acoustic guitar percussion any highly transient sources any acoustic sources that need very close miking or extra presence boosting to cut through a dense mix B6 CArDIOID LARGE DIAPHRAGM DUAL BACKPLATE The BLUE Standard The Modern Presence Vocal Sound This is our premium capsule tuned to deliver a larger than life sound with extension in the lower and upper frequencies Though designed primarily to achieve a world class contemporary vocal sound the B6 can also be utilized to add a glossy produced sheen to saxo phone piano and other acoustic lead instruments To obtain the ultimate vocal sound work the B6 close with a pop filter SW The big modern tone and sharply etched presence of the B6 exem plifies the BLUE sound With a brighter response and more proximity effect than the B7 and less high or low end extension compared to the BO this capsule is logically a standard first choice for vocals It also has extreme presence and grab at distances of three feet or more for distant acoustic guitar miking ambient percussion miking and unconventional vocal treatments The B6 has the highest sensitivity of any BLUE capsule and delivers significantly hotter output than most condenser microphones MB RECOMMENDED FOR Lead vocals background vocals voice overs percussion any source where extended top end is featured piano vibraphone accordion clea
20. pen pick up pattern and less rear rejection MB RECOMMENDED FOR Background and lead vocals voice overs distant miking of acoustic guitar or mandolin percussion any source where extended top end is featured Bl CARDIOID SMALL DIAPHRAGM The Accuracy Plus Capsule The Bl has been designed to capture instruments with a detailed high end and features a dip in response around 400 Hz to enhance the clarity of a program source SW found the B1 s most notable characteristics to be sweet highs abundant high end detail extremely lifelike transient response and an open uncompressed sound that seems to add extra depth and dimension to any source This capsule offers punchy bass pickup without extended or muddy lows neutral off axis response and a lack of harshness that is extraordinary for a small diaphragm trans ducer Compared to other BLUE cardioid capsules the Bl is prone to ambient pickup of low end noise air conditioning rumble etc but it does perform well in distant miking situations and is striking in its accuracy and pleasant timbre MB RECOMMENDED FOR Nylon or steel string acoustic guitar piano vibraphone accordion drum overheads metal percussion hi hat small pitched percussion such as toy piano or mbira voice overs special vocal effects room or ambient miking Foley and sound effect recording B2 FIGURE OF EIGHT LARGE DIAPHRAGM The Vintage Capsule The response of the B2 has been t
21. position or above the instrument up by the guitarist s head Electric Guitar The B2 B6 and B7 capsules are useful for any clean amp sound ranging from bright rhythm chords to warm jazzy tones Angle the capsule toward the center of the speaker to capture more highs or turn it toward the edge of the cone for a fuller sound with more low end You should also try the B2 B3 and B7 for overdriven or distorted amp tones To add a little room sound and soften the extreme high end move the mic towards the outer edge of the cone or back it away from the amp a foot or more For even more control over definition and room tone on electric guitar tracks it is common practice to use an ambient room mic in addition to a close mic on the amp The Bl and B4 capsules are excellent for distant room miking applications on a wide range of instruments Piano Pop and jazz piano recording is usually accomplished with a pair of small diaphragm microphones B1 capsule 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 con ventional to employ a coincident stereo pair with one microphone capsule oriented to pick up the treble strings and the other focused on the bass range of the instrument A less common though very useful technique is to position a stereo pair or single mic just outside of th
22. roves sonics and clarity All the potentiometer switches on the 9610 are discrete military type with enclosed contacts The 9 position switch allows you to determine precisely the right polarization voltage the Bottle or pattern selection the Cactus on your microphone capsule Polarization Switch Bottle The 9610 offers a 9 step polarization switch for sensitivity selections Set at the top zero the microphone capsule is set a 60 volts for the suggested performance When the switch is tuned counter fully clockwise the polarization voltage is reduced to deliver a 6dB lower output for louder signal sources When turned fully clock wise the polarization voltages are increased delivering up to AdB more output providing more sensitivity for quieter sound sources Selections in between the maximum settings allows the end user a variety of choices Note when the switch is fully increased be carefully not to overload the capsule with loud signal sources 9610 Metering A custom built meter by BLUE is provided to monitor the tube strength of the Bottle mic In the upper position labeled Heater the tube filament can be monitored In the lower position labeled Plate the tube plate voltage can be check for performance This switch does not effect the performance of the Bottle mic system Voltage Changes The 9610 operates at either 110 or 240 voltages Your power supply has been shipped for the proper voltages required in your coun
23. shimmering detailed highs Smooth midrange response and controlled proximity effect a bass boost inherent in all unidirectional mics these capsules excel 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 productions vocal tracks will generally be free of pumping and low end thumps Acoustic guitar hand percussion drums and other critical high end sources also shine in front of these capsules gaining an extra measure of air The extreme presence of the BLUE vocal capsules enables the most delicate instrumental sounds to cut through a mix even when recorded at distances of three feet or more and mixed at very low levels Capsule Summary Large diaphragm cardioid BO B6 B7 Large diaphragm figure of eight B2 Large diaphragm omnidirectional B5 Mid sized diaphragm cardioid B3 Small diaphragm cardioid Bl Perspex sphere omnidirectional B4 In ORDER OF OUTPUT LEVEL highest to lowest output B6 B7 B3 B2 BO B5 Bl B4 B5 BO B6 B1 B4 B3 B7 B2 Maximum highs B5 BO Flat and or natural highs B3 B6 Bl B4 B7 Diminished highs B2 B4 B0 B2 B6 B7 B3 Bl B5 Maximum lows B4 BO B2 Flat and or natural lows B6 B7 B1 B3 Diminished lows B5 Decibles dB Bottle B6 Capsule Frequency Response 5K 7K 1
24. torical vocal styles there is nothing like the warm Bing Crosby sound provided by the B2 For a 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 a mesh windscreen or pop filter to protect the diaphragm at this distance Tilt the capsule stem up toward the forehead for more projection and head tone straight on at the mouth for max imum brightness and intelligibility or down toward the chest for more robust lows and smoother highs Acoustic Guitar The transparency and superb transient response of the Bl and B3 capsules make them natural choices for miking acoustic guitar resonator guitar banjo or mandolin Large diaphragm capsules require more careful placement but the BO B6 and B7 capsules are also well suited to this job And the B5 omni capsule is great at approximating the bright rhythm guitar sounds of the 60 s and 70 s 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 capsule as close as possible and angle it toward the sound hole to capture a blend of low end and pick sound If you need more lows move the capsule closer to the sound hole For more high end detail move the Bottle farther from the guitar either at the same neck
25. try If a voltage change is needed push in on the fuse slot located at the AC receptacle Remove the fuse holder and re insert with selected voltage 110 or 240z facing up Champagne Tube Microphone Cable All microphone cables are reactive energy storing devices with independent voltage and current components The subtlest aspects of recorded sound are dependent on the physical construction of these cables as well as size material and wire placement To realize the perfect blend of the best materials the Champagne tube microphone cable was designed collaboratively by BLUE and an engineer with over thirty years of experience in the audio cable industry This top quality cable uses only the finest available virgin pro prietary materials including two conductor 22 awg with 60 strands of 40 awg The two conductor pair is twisted to totally eliminate noise and covered with the finest tinned copper braid for additional protection To guarantee voltages and power the Champagne cable incorporates five additional 24 gauge conduc tors The result is a tube microphone cable that unveils every nuance captured in the Bottle to tickle the finest taste buds as well as warm the coldest critic Technical Data Frequency range Rated impedance S N ratio CCIR468 3 Supply voltage Weight Dimensions mm micophones eweneny Mouse orgonty Ku cactus ote ves Acoustical operating principal Directional Pattern multip
26. warm up process At the end of a session be sure to turn off the 9610 power supply before disconnecting the Champagne cable Capsule Exchange When you re used to dealing with an assortment of tube micro phones each with its own mounting system and power supply not to mention additional voltage transformers fragile parts and other quirks you ll really appreciate the simplicity and ease of the Bottle capsule system Switching capsules is a painless 30 second operation which eliminates downtime or warm up time and will never interrupt the flow of a session To secure the delicate capsule during transport and storage three brass set screws are provided These screws go into the solid metal ring around the circumference of the spherical grille and should be in place when you take the capsule out of its protective bag Remove these screws before mounting the capsule on the Bottle and replace them at the end of a session if desired Installing a capsule is a simple three step operation First posi tion the capsule over the metal stem at the top of the Bottle aligning the J shaped slot at the back of the capsule socket with the protruding pin on the stem Second push the capsule down onto the stem until the pin stops at the end of the long leg of the slot There is a strong spring inside the cap sule socket so a little extra effort may be required at this stage Third give the capsule a clockwise twist on the stem so that th
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