Product Description

The hand-built Ball uses a Class A balancing circuit in its output section. This circuit maintains a constant pure-resistive 50-ohm load across the useable frequency spectrum yielding an exceptionally smooth and open sound previously unheard-of in a dynamic mic. The Ball is capable of handling extremely high SPLs from sources like bass drums, snares, and horns without distortion for extremely clean signals. Ideally suited for studio, stage, broadcast, film or any other applications where reliability, versatility and the utmost sound quality is require. Frequency response: 35Hz - 16kHz. Requires 48V phantom power.

Product Details

• Amazon Sales Rank: #17702 in Musical Instruments
• Brand: Blue
• Model: BLU BALL
• Released on: 2009-02-17
• Number of items: 1
• Dimensions: 5.00" h x 5.00" w x 5.00" l, 2.00 pounds

Features

• Year Introduced: 2003
• Operating Principal: Dynamic transducer with active Class-A phantom-powered solid-state circuitry
• Polar Pattern: Cardioid
• Frequency Response: 35Hz - 16kHz
• Sensitivity: 3.5mV/Pa at 1kHz, 1 Pa = 94dB SPL

From the Manufacturer
Meet the Ball, the latest addition to our award-winning family of hand-built microphones. So-named for its unique shape and inimitable Blue styling, The Ball is our first offering in the dynamic mic category. But a phantom-powered dynamic? Yes. And no. Most recordists know that conventional dynamic mics do not require external DC power. Rather, they employ a relatively simple circuit and derive their output voltage through electromagnetic induction. While this makes them rugged, reliable and easier to operate than their electrostatic counterparts, they also present the user with a unique set of problems. Chief among these is frequency-dependent variable resistance which has dramatic effects on the transducer’s acoustic balance, phase coherence, noise specification and overall output. Our engineers solved this problem by incorporating a phantom-powered proprietary active balancing circuit in the Ball’s output stage. This circuit maintains a constant pure-resistive 50-ohm load across the useable frequency spectrum yielding an exceptionally smooth and open sound previously unheard of in a dynamic microphone. Additionally, as a dynamic mic, the Ball is capable of handling extremely high sound pressure levels without distortion, making it the ideal choice for studio, stage, broadcast, film or any other applications where reliability, versatility and the utmost sound quality is required.

Specifications:

• Year Introduced: 2003
• Operating Principal: Dynamic transducer with active"Class-A" phantom-powered solid-state circuitry
• Polar Pattern: Cardioid
• Frequency Response: 35Hz - 16kHz
• Sensitivity: 3.5mV/Pa at 1kHz, 1 Pa = 94dB SPL
• Output Impedance: 50?
• Recommended Load Impedance: 2k?
• Maximum SPL: 146 dB SPL (2k? load at 1% THD)
• Output Noise Level: 18 dB-A
• Power Requirement: 48V DC Phantom Power
• Current Draw: 2.5 mA

Customer Reviews

Novelty and performance--plus a few quirks.
Blue can be trusted all the way down (or up) the line, from some of the least expensive consumer mics to some of the most expensive audiophile designs. And in their literature, they take a refreshingly light-hearted approach to the whole business of transmitting and recording sound.

But I could have used a bit more clarification before ordering this one. I was ignorant enough to believe that a "Dynamic Instrument Mic with phantom power" meant that the mic came WITH the phantom power (duh!?). Now, after reading the accompanying instructions, I see that the actual meaning (no doubt understood by most readers) is that the mic REQUIRES phantom power. Without it, it's a glorified soft-ball, little else (I guess it's big enough to qualify for kick-ball).

At that point I should have quit on it, but I added the A.R.T. preamp to supply phantom power. Suddenly the Blue Ball became less of a soft ball and more of a bomb, whining to high heaven and protesting with squeals and penetrating screams. Either it's the most sensitive dynamic microphone out there, or the phantom power supplied by the A.R.T. pre-amp is enough to run every condenser microphone in Madison Square Garden. When I backed way down on the sound, my voice sounded full, pleasant, natural, but I was still experiencing minimal hum and feedback. Moreover, when I substituted a Shure SM-58 without phantom power, everything was once again loud and clear but without any gratuitous cacophony or electronic complaints.

I'd recommend the mic possibly for recording purposes or to sound engineers who know how to provide just enough (but not too much) phantom power. It's definitely an attention-getter--bigger (and perhaps more ungainly) than the picture would imply. And the weight of this thing is proportionate to the size (the circuitry and materials contributing to the mass of this curious object is a conversation starter in itself). But perhaps there are more important considerations. For any singer who wants to cover up a set of yellowing teeth or, for that matter, a face that puts talent before beauty, this globe-sized UFO may be just the ticket. And what more perfect mic for a blues belter? (As the picture reveals, it practically announces the familiar 12-bar form with no help from the vocalist.) The instructions, unlike Amazon's description, describe the mic as all-purpose, or as equally appropriate for voice and instruments. (I suspect that sluggish sales have led to the "instrument" designation, as it simply looks and feels rugged enough to take on the most blistering guitar solo or, for that matter, Billy Cobham's entire drum kit.)

It's just a darn shame that this mic wasn't available when David Lynch filmed Isabella Rossellini singing "Blue Velvet." No way Lynch could have resisted a curious, off-kilter attraction such as this.