Recording - April 2011 - 11

the Spark, you can get three Sparks for what a single KSM44 would cost you used, and five for the price of a new KSM44A. But the KSM44 is a well-known mic, and readers who are trying to read my words and “hear” the Spark will, I believe, benefit from the comparison. Once I got past the cool packaging that many of my $2000 mics don’t have, I was pleasantly surprised by my biggest discovery: the Spark is neither a bright nor a harsh-sounding mic. In every instance it exhibited a subtle smoothness to the top end, while still offering punch and clarity that was eerily close to the top-end signature of my Shure KSM44. The two mics differ greatly in their mids

clarity than the Spark could muster. But when you start recording a lot of pianos, hopefully you can add something else to your mic locker! Conclusions Back when I reviewed the Bluebird, the folks at Blue mentioned that their goal was to create their most “general-purpose” mic to date. However, now that entry-level mics seem to be trending a tad darker—which can only be a good thing, considering the tendency of many overseas-sourced mics to sound overly brittle and shrill—I think the mantle of “Blue’s most general-purpose mic to date” has now passed to the Spark. Ultimately it’s about need and taste, and this tangerine-colored treat is pretty tasty at this price. Even experienced recording engineers with good-sized lockers will want to give it a listen and maybe pick one up for particular places where its tonal balance shines. Price: $199 More from: Blue Microphones, www.bluemic.com Paul Vnuk Jr. (vnuk@recordingmag .com) is a recording engineer, producer, recording artist, and sound designer, living and working in Milwaukee, WI. Check out his latest audio adventures at www.majale.com.
RECORDING APRIL 2011

and lows, however, with the Shure being more consistent and fuller across the spectrum. But again, we must keep the price comparison in mind, and even so, the Spark has that exaggerated low-end kick in the pants that is quite nice. Now compared to its Bluebird brother, the Spark could not be more different. The Bluebird has a large, bright, realistic, open sound. When AB’ing between the two it was instantly apparent how much smoother and even warmer the Spark was by comparison. Sources for courses I settled into a standard round of recording sessions and swapped in the Spark in place of the Bluebird, the KSM44, and some of my other mics. Here’s some good news for beginners looking for a mic that will do it all reliably until they can build up their mic lockers! From drum overhead to guitars to handclaps, the Spark is an entry-level all-rounder that really does not play favorites.

For me it did best on acoustic guitar, where the low-end bump and lack of harshness were quite nice, and—for similar reasons—I loved it on spoken word for podcasting; it just sounds very “radio”. Thanks to its build quality, it’s also quite suited for stage use on guitar cabs and drum overheads. At this price you can get a few of them, throw one or two on your rack toms with the Focus in, and one on the floor tom with the Focus out, and have a surprising new drum setup. I really liked it on floor toms! Speaking of the Focus Control, it is very useful for vocals and anywhere else you want to clean up low-end mud. Like many mics, you’ll find that the Spark is taste- and singer-specific. Among Blue models, if you like your vocals bright, open and very natural, then you might be a Bluebird fan. If you still want clarity, but need it softly tempered with smoothness, then the Spark might just ignite a song in you. I tried it inside a baby grand piano, and while I liked what it did for the low end, here I prefer much more top-end

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Recording - April 2011

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