Recording - March 2010 - 27

mic. Speaking personally, I wish they still did this, as I like to think of the descriptions as “try the B7 capsule where you might use a U47.” [Skipper Wise of Blue responds, “When I started recording years ago, I developed a lot of respect for the great mics of the past, but as I extended my knowledge, my ideas changed and I wanted to build sounds of my own. The referenced capsules serve as a foundation for my designs, not as target sounds to be precisely replicated (as seen in the design approach of some other mic makers).”—MM] For the review I received four capsules: the B0 (Telefunken 251 reference), B6 (AKG C12 reference), B7 (Neumann U47 reference), and B4 (Neumann M50 reference). Since I received the review unit a running change occurred: when you buy the Stage Two it comes with a B8 capsule as standard equipment. This is apparently the same capsule used in Blue’s Bluebird mic (reviewed May 2004). Unfortunately, I did not get to try the capsule now included with the mic. I have, however, used the Bluebird. And by comparing the frequency response to the capsules I did use, I have a good feel that the B8 is going to be your solid all-around capsule. Its lifts are not as dramatic as the others, making it a more versatile sound that will take eq well. While you might really want something like the B0 with a lot of air, the B8 is a good starting point that won’t give you too much of anything. So, on to the capsules! B0 (Telefunken 251 reference)—The first in line also happens to be my favorite of the bunch. This cardioid capsule has a big, bright sound that sounds huge in a pop/rock mix. It has a big lift centered around 8 kHz, and is a little scooped in the lower mids. It’s a great airy sound, awesome on female vocals and some male vocals. The B0 also sounds amazing on acoustic guitar. I even created an M/S array with the Stage Two/B0 combo as the mid and a Blue Woodpecker ribbon as the side mic. The recording was solo acoustic guitar for a film and the sound was huge and present. B6 (AKG C12 reference)—I didn’t find myself liking this capsule as often as the others. It has a fuller low end than the others, a midrange presence peak and some air, but for some reason didn’t sit as well for most vocals. But there were exactly two occasions when it blew the others out of the water on different male vocals. Again, the right tool for the job! B7 (Neumann U47 reference)—I was looking forward to this capsule and it really delivered. It has that forward mid range presence found in a classic U47, but isn’t super bright or airy in the top end, the realm of the B0. I really liked this capsule when a mellower sound was desired, and for more general instruments, percussion, etc. B4 (Neumann M50 reference)—Last, but certainly not least, is the most unique of the bunch. The B4 is a spherical capsule, referencing the Neumann M50. If you’re not familiar with it, the spherical capsule is a rather unique pressure omni design with a polar pattern that varies with frequency. At very low frequencies the polar pattern is omnidirectional, so you have very smooth and fast low end response and no proximity effect. As you move up in frequency, however, the pattern becomes more directional, moving towards cardioid at high frequencies. The result is a mic

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Recording - March 2010

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