Blue BLUEBIRD User manual

Warranty

his Microphone or related part is warranted under the condi-

T

ions outlined below to its original, registered owner, provided

t

he purchase was made from an authorized Baltic Latvian

t
Universal Electronics (BLUE) dealer. This Microphone or related

art is guaranteed to remain free from operating defects for

p

hree years from the date of purchase. In the event that service

t

s required, all necessary parts and labor will be furnished free of

i
charge during this period except for tubes, which are guaranteed
for 90 days against defects. This warranty is void if the serial

umber has been altered, removed or defaced. The warranty is

n

oid if the equipment is altered, misused, mishandled, malad-

v
justed, or is serviced by any parties not authorized by Baltic
Latvian Universal Electronics (BLUE). The warranty does not

nclude transportation costs incurred because of the need for

i

ervice unless arranged for in advance. Baltic Latvian Universal

s
Electronics (BLUE) reserves the right to make changes in design
and improve upon its products without obligation to install these

mprovements in any of its products previously manufactured.

i

his warranty is in lieu of any or all expressed or implied.

T

In keeping with our policy of continued product improvement,
Baltic Latvian Universal Electronics (BLUE) reserves the right to

lter specifications without prior notice.

a

Bluebird

Bluebird

Step up to the mic.

www.bluemic.com

TM

©2008 Blue Microphones. All rights reserved. Blue Microphones, Blue Oval and Bluebird are

trademarks or registered trademarks of Blue Microphones, Inc.

All other trademarks contained herein are the property of their respective owners.

TM

ongratulations on your purchase of the Bluebird! Here

C

at Blue, we are known for designing and building the
finest microphones available for studio, stage, film and
broadcast use. Our microphones unite the heritage of the
world’s most respected classics with leading-edge tech­nology, innovative engineering and inimitable styling.
The Bluebird

T

M

is a fine example of our years of microphone

and capsule manufacturing experience.

To create the Bluebird, we’ve borrowed
the best characteristics from many of
our renowned microphone designs.
With the Bluebird, you benefit
from the immediacy of the Baby
Bottle, the robust character of the
Dragonfly, the shimmering high end
of the Blueberry, the deep bottom of
the Mouse, and the superlative, larger
than life presence of the Kiwi all rolled
into one, to bring you a microphone of
exceptional sound quality, cutting-edge
design and superior craftsmanship.

In order to familiarize yourself with the Bluebird’s
specialized and unique features, please take the time to
read this manual and be sure to try the suggested
recording tips. With proper care and use, the Bluebird
will reward you with many years of recording enjoyment.
Unlike other bluebirds you may know of, this one
requires no feeding and there’s no mess to clean up!

Bluebird Capsule Frequency Response

This frequency chart of the Bluebird 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.

The Bluebird is a pressure gradient large diaphragm
condenser which employs an edge-terminated 6µ pure
gold-sputtered mylar capsule membrane. Enclosed within
its unique grille, the side-address capsule can be positioned
in the smallest of spaces for very precise placement.
Please note that unlike some Blue microphones, the
Bluebird capsule is not designed to be removed or to
rotate, swivel, or move in any direction.

Bluebird Capsule P

olar Response

Compared to similar microphones, the Bluebird has a very
low self noise specification (>7.5dB) and an very high
output level (+12dBV), making it the perfect choice for

eep word length digital plat-

gh sample r

ay’s hi

tod

orms. Instead of integrated circuits (chips), the Bluebird

f

ate/d

employs a transformerless Class A discrete amplifier circuit
to insure the most accurate and noise-free signal possible,
with minimal distortion and coloration. What you hear at
the input is what you get at the output. The Bluebird’s
tonal character makes it an ideal microphone for recording
vocals, drums, electric guitar, piano, and most acoustic
instruments including difficult sources like saxophones,

gs.

d strin

, an

flutes

The Bluebir

d Accessory Pak includes a custom shockmount

and pop filter. The shockmount is designed to isolate the
microphone body from low frequency resonance (rumble),
while the pop filter helps to eliminate sibilance and
plosive sounds when used with vocals. For the best
possible signal transmission from microphone output to
preamp input, we recommend using Blue’s 22-AWG
Blueberry mic cable.

Please note: Forceful positioning of

the shockmount without loosening the thumbscrew can
result in damage not covered by warranty.

The Bluebird requires +48V phantom power, which is
provided by most mic preamps and mixing consoles. If
your preamp or console input does not provide phantom
power, you will need to purchase a separate +48V power
supply. It is important to note that some units, though
rated at +48V, may supply insufficient or unstable
phantom power, which can result in distortion and/or
degraded performance when used with a condenser
microphone. Because of this, we have designed the
Bluebird to deliver outstanding performance with a
power supply as low as +35V!

To avoid damage to audio components when connecting
the Bluebird to your microphone input, we recommend
the following procedure:

• Set mic preamp gain to its nominal position (“off”).

• Mute console master, stage monitor and mains feeds,
headphones or foldback sends, and studio monitors.

• Connect the female end of your balanced XLR micro­phone cable to the Bluebird’s output jack. Connect the

ale en

m
mi

c pr

d to your balan

eamp input.

ced console input or balanced

• Switch on phantom power.

ute all previously muted signal paths and adjust

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mic preamp gain as necessary.

Once the Bluebird is on the stand and powered up, make sure
that the active, on-axis side of the capsule (the side aligned

ectly above the Blue logo) is facing the desired

d dir

ith an

w

d mic, and is designed to

oi

di

d is a car

e Bluebir

. Th

ce

sour

ff-axis sound arriving at the back of the capsule.

eject o

r

Following are some application tips that will help you
to get the most out of the Bluebird.

Here’s a little-known secret — vocalists
love singing into unique and impressive
mics like the Bluebird. For a “big” vocal

Vocals

sound, position the vocalist within one

to four inches of the capsule. There is
no need to worry about overloading the microphone, but
be sure to use the supplied metal mesh pop filter to protect
the diaphragm. Tilt the microphone upward (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 full lows and
smoother highs.

The Bluebird’s slim profile and fast
transient response offer numerous
advantages when recording drums. For

Drums

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. Positioning
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.

Because of its robust characteristics,
the Bluebird is an excellent mic for any
clean guitar sound. Position the capsule

Electric

Guitar

toward the center of the speaker to

capture more highs, or toward the edge
of the cone for a fuller sound with more bottom end. For
overdriven or distorted 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. Give the Bluebird a try on electric bass,
blues harmonica, and organ too!

Large diaphragm mics require careful

placement when used on acoustic guitar,

but the Bluebird’s shimmering high end

Acoustic

Guitar

is well-suited to this job. For a balanced

sound with plenty of sparkling high
end, place 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 capsule 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 Bluebird farther from the guitar,
either at the same neck position, or above the instrument
up by the guitarist’s head.

Because o

m

f its n

idrange characteristics, the Bluebird is

ghs and soft

al hi

atur

an excellent choice for miking all members

Strings

of the bowed string family. In general,

the capsule should be positioned toward
the instrument’s bridge to pick up a blend of resonance
and bow sound. On bass and cello, placement from 3 to
6 inches in front of the bridge is usually ideal. For violin
and viola, it is preferable to position the microphone 1
to 2 feet above th

e in

ent. Angle the capsule

strum
toward the bridge for more bow sound and low tones, or
move the microphone toward the tuning pegs to capture

ded sound.

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, bri

e diffuse

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The extended high end response of the
Bluebird makes it an ideal choice for
modern tonality when miking saxo-

Saxes,

Flutes &

Reeds

phones and other wind instruments. For
soprano sax, clarinet, and related instru-

ments, position the capsule directly
above and in front of the keys between the middle of the
horn and the lowest pads. Try 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). On flute, start by placing the
Bluebird above the middle of the instrument, and move
the capsule closer to the mouthpiece if more highs and
breath sound is desired. For other members of the saxo­phone family, start by placing the Bluebird two to six
inches in front of the lip of the bell. Angle the capsule
up toward the mouthpiece to capture more air, bright­ness, and high notes. For a mellower sound, orienting
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.

We hope you enjoy your purchase and find the Bluebird to
be an ideal mic for a wide spectrum of instrumentation
and recording needs.

Technical Data

Transducer Type
Polar Pattern
Frequency Response
Sensitivity
Output Impedance
Rated Load Impedance
Maximum SPL
S/N Ratio
Noise Level
Dynamic Range
Power Requirement
Weight
Dimensions

Condenser, Pressure Gradient

dioid

Car
20Hz – 20kHz

27.0mV/Pa at 1kHz (1Pa= 94dB SPL)

Ω

50

>1

kΩ

138 dB SPL (2.5kΩ, 0.5% THD)
87 dB-A (IEC 651)
7 dB-A (IEC 651)
131 dB (@ 2.5k
+48V DC Phantom P
480g
222mm x 45mm

Ω)

o

er (IEC 268-

w

15)