Class-A Discrete Multipattern Studio Microphone
by George Petersen
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True to their name, B.L.U.E. mics are hand-built in Riga, Latvia. Kiwi’s attractive green body houses modern, transformer-less electronics—a Class-A, all-discrete design (no ICs here!), using high- quality components such as metal film resistors. The approach is minimalist; the signal path has no attenuation pads or low-cut filters that could compromise the signal.
The capsule is modeled after the B6 capsule that’s included in B.L.U.E.’s high-end Bottle microphone but in a multipattern version using that same large-diaphragm, dual-backplate design. A switch on the backside of the mic body provides settings for cardioid, omni or figure-8, as well as three intermediate settings between each, for a total of nine patterns. In addition to the outboard shock-mount, Kiwi’s capsule is mounted on a rubber stem, providing near-total isolation from external vibration and rumblings. This internal mount allows so much flex that the mic includes three hold-down screws to protect the capsule by locking it in place during shipping.
Although useful for various studio tasks, Kiwi is designed with vocals in mind. Both the cardioid and the figure-8 patterns are well-defined and fairly tight, and in most vocal applications, a click or two away from these end positions on the pattern wheel provided a wider splay for singers that move around while performing.
While tracking lead vocals in cardioid or figure-8, I found the proximity effect added a round fullness up close, but the capsule is extremely sensitive to vocal pops. Here, either a stocking-type screen or the way-cool “The Pop” optional ($200!) stainless steel clip-on pop filter is essential. Once you find the exact sweet spot for a full sound without breath noise, the Kiwi is sweet. The mic has a wide, smooth presence boost that starts about at 6.5 kHz with a +3dB peak around 12 kHz that’s particularly nice on male lead vocals; this boost also adds a nice airiness to male and female background tracks. Kiwi’s far from flat, but it adds punch, clarity and a low-end warmth on both spoken and singing tracks—a trait that both male and female vocalists liked. I had to agree.
This same upper presence bump that I liked on vocals gave a nice emphasis to tenor sax, although it was too much on clarinet—here, a ribbon mic was a better choice. Overall, the mic is fairly bright, and when recording acoustic guitar, some experimentation with placement is necessary. On a Gibson J-160E acoustic, positioning the mic between the bridge and the soundhole seemed to work the best on solo work, while moving toward the neck offered a brighter sound that kept the guitar from getting lost in a rock mix.
Kiwi was ideal on all kinds of percussion (assuming the drummer is under control) and delivers tons of transients and punch on timbales, while offering a clean, detailed sound on a brushed snare. I only had one mic to test, but given the top-end response, I think two Kiwis would be really nice as an overhead pair. In omni, this detail makes Kiwi a great choice as a room mic, as it captures nuances with less coloration than the other patterns.
I used a variety of preamps—both stock console and outboard—with Kiwi, but I preferred it with the Aphex Model 1100, a tube model with a phenomenal -135dBu EIN spec that really lets you know if the mic electronics are clean or not. Kiwi passed this test without any problems; in fact, its low-noise (8dBa) performance was perfect for recording low-SPL sources like acoustic guitar harmonic grace notes. This, with its impressive ability for detail and multipattern versatility, makes Kiwi a natural choice for Foley applications. I could definitely find space in my mic locker for a Kiwi or two!
B.L.U.E. Microphones, 766 Lake-field Road, Suite D, Westlake Vill-age, CA 91361; 805/370-1599; fax 805/370-1549; www.bluemic.com.
Reprinted with permission from
Magazine, April, 2001© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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