Measurements
Well, don't trust a chart that you haven't created yourself. However, by and large, I was already positively surprised. The first measurement I made omnidirectional, i.e. with the preset for the ball characteristic. Below approx. 45 Hz and above approx. 14 KHz you can measure and also hear a level drop. But this is not too bad, because I am primarily interested in the most true-to-life language reproduction.
Normally I use the kidney characteristic ("Cardoid") because of the better hidden side noises and it is interesting to see that it can also work electronically solved. The frequency curve is now slightly different and the Sibilants are also raised slightly from 6 KHz. Here you could now, for example, play with "Gain" a little bit to flirt with the crispyness. So that's not even uncool. Only the upper bass and the lower middles go back a bit.
For a 100-euro microphone with a USB port, what's measured looks better than you might have guessed. But as always, the truth always sits at the table and so, of course, I will also subjectively judge what I was able to absorb with it.
Sound Check
In practical use, what I have already been able to measure continues. You should rotate the hanging microphone in such a way that, if you use the kidney, you get the best sensitivity for your own language and at the same time record the lowest noise levels. This may take some time to set up, but it is a very well-invested time. You can also see from my attitude that I do not speak directly to the center of the "kidney", especially since one sits a little below.
The practical test of the suspension was also convincing, because where I normally have to work with an extreme low-cut, in order not to use the very low-frequency washing machine or washing machine. To capture slingshot noises from the washhouse directly below the office (body sound), nothing is included here. By the way, the slight rotation of the microphone results from the light winding noises, which you can almost get away with it.
The voice still sounds warm despite the rather neutral behavior, but without blubbering or lubricating everything in the basic tone. You can live with it well, especially since you can also adjust it nicely at the top thanks to the "Gain" knob. The sensitivity is extreme and if you don't turn everything over, you'll run away in horror, because it may already be distorted and bounced. Less is more and with the "gain" you should neither over- nor understate it.
Summary and conclusion
Normally, I am fundamentally sceptical about products with a superficially visual touch and too much hip advertising. But what Blue there for approx. Offered 200 Euros as a bundle, is mechanically solid, visually appealing, haptically a pleasure and acoustically a very useful solution. You almost don't have to write more about it, because you don't find any real weaknesses.
Sure, it's not a real studio technique and some details could have been solved even better, but that's unnecessary whining at too high a level. If something besides the main factor sound could convince me, it was the excellent workmanship quality and the above-average material appearance. It's not cheap, but it's really cheap for what's on offer.
For anyone who, like me, accidentally wipes the desk with an abrupt gesture of nonchalance, such a suspended microphone is a real treat. If it works well and looks nice: all the better. The purchase tip is therefore honestly deserved and I finally have even more space on the record, which I can complete. If so, that would be the biggest mistake, because I could find.
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