But WHY use the Mouse on kick drum when so many dedicated microphones are available?  Well that’s a simple answer.....TONE!!!  Microphones like the Audix D6, Shure Beta91, the AKG D112 and others are very good at what they do---but a large-diaphragm microphone with a massive transformer in there is going to give you the full tone and texture of the kick drum and not just the low-end bump that other microphones pick up.  When using the Mouse, I don’t worry about getting a great sound either in the studio or live on-stage. Many think that you should not take such microphones out on location but I don’t think there is any other way to do it.  Why?  Well I’m recording, isn’t the idea to get the best recordings?  For the concert clip to the left I placed the Mouse right in the top center of the kick about six inches out with the capsule angled down about thirty degrees.  The preamp was the Focusrite ISA828 directly into a Digidesign 192I/O and Pro Tools HD.

While great on kick-drum, the Mouse is just an all-around wonderful microphone that works on just about any application.  Of course, the main topic here is always VOCAL MICROPHONES and that’s another reason I bought the Mouse myself.  The Mouse has an incredible proximity effect which, in simplest terms, means that the closer to the capsule you get---the bigger the bottom-end.  Over the years I’ve done a great bit of voice-over work where I would receive a call from an automobile dealership who decided to run a sale and do a quick radio blast.  Well, I would get a phone-call on a Tuesday morning and need to have the finished product to them the next day for review and ready for radio broadcast for Thursday morning.  In that situation, I don’t have time to EQ my voice.  That’s what I love about the Mouse, it just sounds great without any equalization applied.  When I’m recording someone else I have the ability to look at their lip-level and properly position the microphone-stand, location, and placement of the capsule to their mouth---but when recording myself, that is hard to get it right quickly. Once again thanks to the rotatable capsule this is not a problem.  This allows for easy adjustment of the capsule angle for a more on-axis or off-axis position which, again, dramatically alters the original recorded sound.  For those that are new to recording or just aren’t as experienced---this is where the magic really happens.  The best mixes come from the best tracks, which come from the best recordings which nearly all the time is due to microphone selection and placement!  The picture to the right was a male vocalist I recorded in my studio--XXXXXX for an audio demo of his voice through the Blue Mouse.

There are various techniques for recording acoustic guitar, my preference is a single large diaphragm microphone on or near the 12th fret of the acoustic guitar with a small diaphragm microphone on the neck of the instrument. With this technique I absolutely love the Mouse microphone for both its sound qualities (and again) the rotatable capsule.  In my opinion I feel the best acoustic guitar tracks are those that have the least alteration to its tone, yet enhances the sound itself.  What I mean is, there are microphones and pre-amps that “warm up” the sound but do not actually change it into something else.  This is where the Mouse really shines in that the bottom end is incredible bringing out the wood tone of the instrument, yet the clarity of the mid and highs allow the “shine” of the guitar to cut through. This is, after all, why you pick that solid Spruce Top and take so much time in listening to the acoustic guitar(s) that you purchase.  WHY would you want it to sound different recorded as opposed to how the guitar sounds when you’re playing it in your living room or on stage?  Sound aside, I love the Mouse on acoustic guitar because I have so much control on placement and axis of the capsule in relation to the player and his/her guitar.  When recording acoustic guitar, PLACEMENT IS EVERYTHING!  Moving the mic stand up or down or at an angle changes not only the distance of the microphone, but it also changes the axis at which the capsule hits the instrument and where it hits.  Should the guitarist move or perhaps I don’t have the placement exactly where I wanted it, I can simply rotate the capsule until I hear (or see) the placement that I am looking for.  Again, this feature makes the Mouse such an incredible microphone for the demanding audio engineer.

Session Photo of a male vocalist in my studio making full use of the rotatable capsule.

AUDIO SAMPLE and PHOTO

coming soon......

VIDEO/AUDIO SAMPLE

coming soon......

Use of the MOUSE on my my 20” Premier Signia Kick Drum, this is the ultimate kick drum microphone without question!