The (Even More) Ultimate USB / XLR Mic for Professional Recording
Yeti Pro Mic Updates an Old Classic!
The Yeti Pro is the world's first USB microphone combining 24bit / 192kHz digital recording resolution with an analog XLR output! Featuring 3 custom condenser capsules and 4 different pattern settings, the Yeti Pro can capture digital audio with up to 4x the clarity found on CDs.
Plus, the Yeti Pro features a cutting-edge A/D converter chip and separate analog circuit path for use with professional studio mixers and preamps as your voice and music Audio Clips get more attention and bigger production values.
The legend of the Yeti continues with the most advanced and versatile multi-pattern USB microphone roaming the wild today. The Yeti features tools and recording capabilities usually requiring multiple microphones and devices, all with the simplicity of a plug 'n play USB microphone.
You also get a built-in headphone amplifier for zero-latency monitoring, and direct controls for headphone volume, pattern selection, mute, and microphone gain. So whether you record at home, in a studio (or in the Himalayas!), the Yeti Pro is your ultimate sound solution that goes with you.
Desktop or Studio Work, The Possibilities Are Endless
You can quickly select from each of Yeti's four pattern settings (stereo, cardioid, omnidirectional, bidirectional) by simply rotating the pattern selector knob. The chart below shows each pattern's symbol, sound source direction, and suggested recording applications.
For a more in-depth look at each pattern, please refer to the detailed descriptions and frequency response charts further down the page.
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 voice over, 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
These charts are only a starting point for the sound provided. How the microphone reacts in a particular application will differ greatly because of many variables, like room acoustics, distance from sound source (proximity), tuning of instruments, mic cabling and other factors. For more tips on miking and recording techniques, check out the Blue website.
Compared to the Original Yeti Microphone
Windows® 8.x, 7, Vista®, XP Home or XP Pro
1x USB 2.0 or higher port required
Mac OSX 10.6.4 or higher
1x USB 2.0 or higher port required
|Capsules||3 Blue Proprietary 14mm condenser capsules|
|Polar Patterns||Cardioid, Bidirectional, Omnidirectional, Stereo|
|Frequency Response||20 ~ 20,000Hz|
|Sensitivity||4.5mV/Pa @ 1 kHz|
|Max SPL||120dB (THD: 0.5% 1kHz)|
|Frequency Response||15 ~ 22,000Hz|
|Signal to Noise Ratio||114dB|
|Outputs||Digital: 1x USB 2.0 port
Analog 1x XLR port
|Included Cables||1x USB 2.0 Cable, 2m (6.6 feet)
1x Y Cable, 300mm (1 foot)
|Power Source||USB 2.0 Powered|
|Power Consumption||Input: 5V @ 150mA, 0.75W|
|Dimensions & Weight|
|Dimensions||120 x 125 x 295mm (4.7 x 4.9 x 11.6")|
|Weight||Microphone w/o Stand: 550g (1.2 lbs)
Microphone w/ Stand: 1.0kg (2.2 lbs)