Blue microphones BOTTLE User Manual
Bottle
Inside the Bottle
C
ongratulations 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 microphone 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
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 of 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 suggested recording tips.
The Bottle
One of the questions most commonly asked of BLUE Bottle microphone owners is, “What’s in that thing?” The Bottle is unquestionably 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 transformer), 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 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. 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 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 microphones (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, position 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 capsule socket, so a little extra
effort may be required at this
stage. Third, give the capsule
a clockwise twist on the stem,
so that the 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).
B0: CARDIOID LARGE DIAPHRAGM SINGLE BACKPLATE
The Ultimate Big Vocal Sound
The B0 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 B0 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 B0 delivers a larger-than-life sound that expands
on the tonality of the B6 and B7 capsules, with a more open pickup 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.
B1: CARDIOID SMALL DIAPHRAGM
The Accuracy Plus Capsule
The B1 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
I 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 transducer. Compared to other BLUE cardioid capsules, the B1 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 tailored 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 B0 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 proximity 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.
B3: CARDIOID MID-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 tradition 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.
Loading...