When choosing a condenser microphone, one of the most important aspects is the size of the diaphragm. A smaller diaphragm is better for picking up higher frequencies, while a large diaphragm picks up lower frequencies. For example, if you are recording vocals, it is best to go with a large diaphragm. However, if you want to record bassy sounds, you should go with a small diaphragm.
Blue’s Kiwi
The Blue Kiwi Condenser Microphone is an extraordinary Class A discrete large diaphragm condenser with nine polar patterns and the precision double-backplate B6 capsule. With a custom shockmount and handsome cherrywood case, this microphone combines unmatched performance and value. The Kiwi is an outstanding choice for any studio, recording studio, or any application where the microphone’s performance is crucial.
The Kiwi’s capsule is similar to the Bottle mic and uses a matched pair of single-backplate devices mounted back-to-back. The microphone has a deep housing and ships with three brass screws to secure the capsule and prevent it from bouncing around. The microphone will not work unless these screws are replaced. To avoid a similar occurrence, replace them after transporting the microphone. It may even be easier to replace these screws after you use the microphone for the first time.
The Blue Kiwi is a multi-pattern FET condenser microphone with a rotary switch for adjusting the polar pattern. The polar pattern on the Kiwi is marked with omni on one end and a figure of eight in the other. The microphone also offers cardioid, omni, figure-eight, and a figure-8 pattern. You can choose whichever polar pattern you need for your project.
Neuman’s TLM 49
The Neumann TLM49 is a transformerless, cardioid condenser microphone that was created specifically for vocal use. Its sonic properties are balanced and transparent, making it a great choice for all types of vocal recording. The microphone can also be used outside of a vocal booth, which is ideal for recording group background vocals. Its design emphasizes even harmonics, resulting in a clear, natural sound.
The TLM 49’s low-end response is excellent, with no noticeable rolloff in frequency from 40 Hz to five kHz. This mic’s response is flat and consistent up to five kHz, making it ideal for recording vocals and instruments that sound different from one another. The TLM 49’s low-frequency response is surprisingly wide, with no discernible sibilance at the high-end of the spectrum.
Blue Blueberry
The Blue Blueberry is a discrete Class A microphone amplifier that pairs perfectly with the large-diaphragm, single-pattern cardioid capsule. Designed with a surprisingly intimate presence, it is an ideal microphone for the stage, on-stage, and home recording. This mic is available in three sizes to suit the needs of a wide variety of musicians. For more information, please visit Blue Microphones’ website.
The Blueberry microphone is a fantastic choice for recording vocals and acoustic guitar. Its Class A circuitry picks up airy mids and highs that range up to 22 kHz. Its all-metal construction is both durable and affordable, and its pop filter is an excellent way to cut out unwanted sounds. The Blueberry also features a pop filter with a blue metal screen on it.
The Blueberry is a great option for vocal recording, as it has minimal proximity effect. If you aren’t looking for a bass bump or a presence boost, the Blueberry isn’t for you. Instead, the Blueberry provides a natural and uncolored sound that cuts through the mix without being distorted by the proximity effect. Blue is a US-based company, so the microphone’s quality is guaranteed.
Blue Kiwi
The Blue Kiwi Condenser Microphone is a Class A discrete large diaphragm condenser with nine polar patterns and Blue’s precision double-backplate B6 capsule. It comes with a custom shockmount, a cherrywood case, and a handsome microphone. The Blue Kiwi offers an unmatched combination of performance, style, and value. To find out more about this microphone, read on!
Unlike many other microphones, the Blue Kiwi features nine programmable polar patterns. This makes it adaptable to every recording environment and application. The switch for adjusting polar patterns is on the back of the microphone, so you don’t need to dig out additional tools or switch patterns endlessly. It is easy to point it at your source and change the pattern. The Blue Kiwi’s omni-directional design also helps it produce a natural room sound, with no overly pronounced’sibilance’ or ‘focal’ effects.
This top-of-the-line Class A Discrete microphone uses a double-backplate capsule and is measured in an anechoic chamber to eliminate unwanted rumble. Its large pop shield also provides protection from the shock of a vocalist’s breath. While this microphone is not perfect for every situation, it was ideal for recording voices. Its large frequency response and smooth, larger-than-life sound are perfect for recording vocals. To use it, you’ll need a pop shield and a stand. The Blue Kiwi also comes with a handbook, which gives you advice on positioning.
