Blue Microphone Mikrofon

100.-

19.04.2026

3012, Berna

Wenig gebrauchtes Blue Microphone, phontom powered dynamisches Mik für Profis.
Sehr gut für laute Quellen wie Guit Amps, Sneares ect.

Funktioniert einwandfrei. NP. 400.-

THE BALL by BLUE MICROPHONES - A competent, general-purpose and very robust dynamic mic with built-in phantom-powered buffer amplifier.

The Ball is an intriguing microphone. It's highly unusual shape makes it instantly distinctive and recognisable, and that alone will give it great appeal. However, this mic is also a competent performer, with a well-controlled polar pattern and a huge dynamic range. It also appears to be very rugged and well built, although I remain a little concerned about its susceptibility to mechanical vibration through the mic stand.

The Ball is claimed to be suitable for use in any roll ? I mean role! ? where dynamic mics would normally be chosen, and in both the studio or in live sound applications. The microphone's relatively large size enhances its front-to-back separation, particularly at high frequencies, and its distinctive and slightly retro styling is enough to turn the heads of most vocalists.

A phantom-powered dynamic microphone?! What's all that about then? You'd be forgiven for thinking that you're reading an old April SOS by mistake, but the description of the new BLUE Ball is, in fact, accurate. The performance of dynamic microphones, whether ribbon or moving coil, is dependent to some degree on the load they have to drive ? the impedance presented by the combination of connecting cable and preamp input. Inherently, the value of this load varies with frequency which, in turn, affects the amount of current the microphone can deliver at different frequencies and so also affects the frequency response. This is one reason for the growing interest in preamplifiers with adjustable input impedance, since changing the input impedance can have a pronounced affect on the tonality of a dynamic microphone.

It is for this reason that the BLUE Ball uses phantom power, because it incorporates a solid-state discrete Class-A buffer amplifier designed to present the microphone capsule with a constant-impedance load, while driving the cable from a constant 50? source. The result is a dynamic microphone able to provide a far more consistent tonal character regardless of the length of mic cable or preamplifier input impedance.

The handbook lists just about every common musical instrument as a suitable target for the Ball, starting with vocals and including electric and acoustic guitars, strings, upright and electric basses, organs, harmonicas (although the Ball is probably a little too large to hold comfortably in the hand while playing), drums (including kick drum), saxes, flutes, and other reed instruments. Strangely, the brass section has been left out of the recommendations list ? while the mic's high-end roll-off will tend to dull the attack and bite of brass instruments, at least the high SPL is not a concern.

The overall impression of the BLUE Ball is much as you would expect from any competent general-purpose dynamic microphone. It has a slightly closed-in, but full sound when compared with a similarly priced condenser mic, but holds its own very well when compared with popular dynamic mics such as the Beyerdynamic M201 and Sennheiser's MD421 II, for example. The Ball has a useful mid-range punch which helps sounds to cut through in a mix, but it also compresses transient dynamics ? as all dynamic mics tend to. This can be used to great effect when miking drums and percussion, and even acoustic guitars to some extent, but can also make the sound a little dull and lacking in detail. The frequency response sounds relatively smooth, without obvious narrow-band peaks or dips, although there does seem to be a broad presence boost which helps a little with clarity and diction on voices.