If you are looking for a high quality USB mic, look no further!
The Blue Microphones Yeti Pro USB Microphone is the world's first USB microphone combining 24 bit/192 kHz digital recording resolution with analog XLR output. With three custom condenser capsules and four different pattern settings, the Yeti Pro microphone can capture digital audio with up to four times the clarity found on CDs. Plus, the Blue Yeti Pro mic features a cutting-edge A-D converter chip and separate analog circuit path for use with professional studio mixers and preamps. A headphone amplifier is built-in for zero-latency monitoring, and direct controls for headphone volume, pattern selection, mute, and microphone gain. So whether you record at home or in a studio, the Blue Yeti Pro USB mic is your ultimate sound solution.
Blue Microphones Yeti Pro USB Microphone Features
- Proprietary Tri-Capsule Array: 3 Premium, 14mm tuned Condenser Capsules
- Mic Gain Control
- 4 Polar Patter Selector: Stereo, Cardioid, Omni, Bidirectional
- Mute Button
- Master Volume
- Stereo XLR analog Output
- USB Output (up to 192 kHz sampling)
- Standard Threaded Mic Stand Mount
- Zero Latency Headphone Output with Amplifier and Volume Control
- Custom Base with Cable Management
- Includes USB Cable and Stereo XLR Breakout Cable
The Blue Yeti Pro USB mic has plug and play simplicity with professional features and tools that eliminate the need for multiple mics, the Blue Yeti Pro has you covered! You can quickly select from each of Blue Yeti Pro's four pattern settings (stereo, cardioid, omnidirectional, bidirectional) by simply rotating the pattern selector knob. This gives the Blue Yeti Pro USB mic great flexibility, perfect for almost any recording situation.
The Stereo mode is great for capturing a realistic stereo image. To start, point the microphone at the sound source that you want to record (the front of the microphone is the side of the microphone with the Blue Microphones Logo). Depending on the instrument and/or sound that you want to achieve, place the grill of the microphone anywhere from 2 inches to several feet in front of the sound source. By centering the sound source, you will get equal amounts of signal in both the left and right channels. If you want a little more of the signal in the right channel, move the sound source a little to the right side of the mic (as if one is behind the microphone), and if you want a little more of the signal in the left channel, move the sound source to the left (as if you are behind the microphone). Alternatively, you can record everything as centered as possible, and easily adjust the position when you're mixing the recording. If you want the sound in the right or left channel only, you should try using the cardioid, bidirectional or the omnidirectional setting, and use your software to hard-pan the sound to the left or the right.
Cardioid is the most commonly used mode and can be useful in most any situation. If you are recording vocals, a podcast, or a voiceover, cardioid is likely your best choice. When recording in cardioid, sound directly in front of the microphone is picked up while the sound at the rear and sides of the microphone is not picked up. Therefore, you will want to arrange the source directly in front of the microphone. Cardioid will deliver the most direct, rich sound, but will not offer as much airiness or presence as the other recording modes.
Omnidirectional means that the microphone picks up sound equally from all directions. This setting is perfect for recording a group of musicians all playing at the same time, recording a conversation between multiple parties around a room, a conference call, or any other situations where you want to capture the ambience of 'being there.' Because sound is picked up from all directions in this mode, the orientation of the microphone isn't crucial, but as a good rule of thumb, start by orienting the front of the microphone at the primary sound source you wish to record.
Bidirectional means that the microphone picks up sound at the front and rear of the microphone, while the sounds to the sides are rejected, or not picked up. The bidirectional setting is very useful in achieving a nuanced, pleasant sound when recording musical instruments, and is perfect for recording an interview with two or more guests. By placing the microphone between two or more subjects (front of microphone facing one source, rear of microphone facing another), you can achieve a natural sound without the complexity of using multiple microphones.