Blue Microphones Bottle Rocket Stage One/Stage Two Review

Sep 1, 2009 12:00 PM, By Myles Boisen

           
 

TWO MICROPHONE BODIES, MANY CAPSULES

With the B8 capsule, the Blue Stage One mic picked up more room sound and highs than the TLM 103, with a bright response that emphasized string noise and upper midrange. The B3 capsule on the Stage One was not as bright as the 103, though its tonality was much closer to the Neumann's throughout the frequency spectrum. I still noticed a greater proportion of accurate room sound through the Blue transducer.

The Stage Two paired with the B3 yielded more depth and liveliness, and it improved high-end transparency without excess brightness. With the B8 capsule, though, the Stage Two emphasized some rattling and clacking on the bass track.

Ultimately, I preferred the sound of the Stage Two/B3 combination, although Mezzacappa's impression was that it made her sound as if she were playing harder than she actually was, with more edge on the attack of the notes. Although the TLM 103 did grant a more intimate and drier sound to the bass, the Stage Two contributed superior transient response, room tone, and overall openness and accuracy to the sound of this challenging instrument.

On a session for singer/songwriter couple Mia & Jonah, I had a chance to try out the Stage Two with a B6 capsule. On vocals, this configuration had the same familiar warmth and definition I expect from the Bottle/B6 combination that I've relied on for years. The Stage Two and B6 pairing was also great on harmonica, delivering thick and full tonality without any harshness. Although a direct comparison with the Bottle was not possible on this session, based on what I heard I would use the Stage Two alongside the Bottle without hesitation. (For more, see the Online Bonus Material, “Hearing Is Believing?”)

One complaint concerning the Blue shockmount is that the inner rings, though very well padded, don't grip the mic securely once the latches are closed. With its glossy finish, the Stage Two is particularly prone to slipping down in the mount until it comes to rest on the raised logo or one of the end caps. Although there's no danger of the mic body falling out or getting damaged, this is a design flaw that goes against Blue's reputation for aesthetics and precision.

Flying High

Toward the end of the review process, I was a little shocked to find out how affordable these mics are. I assumed that both Bottle Rocket kits would be about double their prices. The Stage One set costs about as much as buying a B8 capsule and shockmount separately, making the microphone body basically free.

Neither the Stage One nor the Stage Two compromise on the sound quality and excellent specs for which Blue is known. For anyone who already owns a Blue Bottle, a Bottle Rocket is a great opportunity to diversify your mic closet and get more use from your capsules. A Bottle Rocket and assortment of capsules also offers versatility for the small-studio recordist who is concerned with quality and timbral range, but doesn't need a lot of mics.

Myles Boisen is head engineer at Guerrilla Recording in Oakland, Calif. Find out more at www.mylesboisen.com.