Best known for its top-quality studio mics, Blue successfully ventured into the consumer world with its Snowball and Snowflake USB mics, as well as Mikey, an add-on transducer designed for the Apple iPhone and iPod. However, the company’s newest USB microphone, amusingly named Yeti ($149 MSRP; Mac/Win), moves into the prosumer world by offering features that professionals demand while making the mic easy enough for anyone to use (see Fig. 1).

Fig 1: The headphone level control and output mute button are on the front of the Yeti USB mic.

Even if you compare it to a studio-grade mic, the Yeti’s feature set stands out, especially at this price. The microphone houses three identical 0.5-inch capsules that yield four, selectable pickup patterns: cardioid, omni, figure-8, and stereo (see Fig. 2). Other important features include a headphone output for zero-latency monitoring, controls for input gain and headphone level, and a muting switch. Consequently, the mic is perfect for direct-to-computer recording of singers and instrumentalists, as well as podcasts and voiceovers for video.

In fact, the Yeti is the first USB mic to be THX Certified. According to the folks at Blue, the THX specification means that “every Yeti is produced to high standards with very tight tolerances.” This in regards to the accuracy of the digital converters, the THD and intermodal distortion of the circuits, the frequency response patterns, the usable frequency range, the maximum SPL level, adherence to the polar patterns, and stereo channel separation. The manufacturer goes on to state that its goal was to provide a level of audio performance that is much higher than other manufacturers. Not bad for a mic priced below $150.

Big Footprint
Standing just under 12-inches tall and weighing 3.5 pounds on its sturdy swivel-mount, the Yeti has a groovy retro vibe. However, it’s not as portable as the manufacturer’s literature states. The front of the mic has a headphone volume control and a button that mutes the mic output. The input gain control and the polar-pattern selector are on the back, where they can’t be easily bumped (see Fig. 3). Unfortunately, the input and headphone level controls felt a little wobbly on the review unit.

Fig 2: A photo of the Yeti’s 3-capsule array, which yields three pickup patterns.

The bottom of the mic is where you’ll find the USB port, the stereo mini-jack headphone output, and a standard threaded mic-stand mount in case you want to use the Yeti away from the desktop (see Fig. 4). The mic can be easily removed from its desk-stand by loosening the two set screws on the side of the cradle.

Setting up the Yeti couldn’t be simpler: Plug it into your computer’s USB port (it supports USB 1.1 and 2.0), select the Yeti as your input and output device in your audio preferences, and you are good to go. As with any USB I/O device that requires bus power, it’s recommended that you don’t plug Yeti into a USB hub.

The Yeti’s overall input frequency response is 20 Hz to 20 kHz (+5/-10 dB, depending on which pattern you select), and it can handle SPLs of up to 120 dB. The mic has a fixed digital resolution of 16-bit, 48 kHz.

The headphone output boasts a slightly wider frequency response—15 Hz to 22 kHz (±2 dB), with a signal-to-noise rating of 100 dB. That’s a decent level of audio quality in case you want to use the Yeti as the main output device for music or movies.

Fig 3: The input gain and pattern selection controls are on the rear of the mic.

A Visit to the Poles
A microphone’s polar pattern determines, in many way, how the mic can be used. Consequently, having four choices gives the Yeti a major advantage over all of the other USB mics on the market.

For example. The cardioid pattern, which will give you a bass-boost from the proximity effect when the mic is close to the subject, is great for voice (speaking or singing), as well as close-miking an instrument. The figure-8 pattern is perfect for recording two voices on opposite sides of the mic (facing each other) or when you want to record a single instrument but would like to capture a bit of room tone from behind the mic.

Of course, the omnidirectional pattern works for multiple voices and instruments, which can be placed anywhere around the mic. Just as importantly, it can be used for close-miking a single instrument or voice when you don’t want the bass boost that a directional mic’s proximity effect gives you.

The pièce de résistance is that the Yeti works as a stereo microphone. By using this setting, you can capture the position of voices and instruments in 2-dimensional space. It also means you’ll need two tracks while recording—one for each channel. It might not be what you want for a podcast, but it’s great for recording instruments such as piano and drums, as well as vocal or instrumental ensembles.

At Large
I tested the Yeti using a variety of professional and consumer audio software applications, including Audacity, Apple GarageBand, and MOTU Digital Performer. Setting up for recording was a snap, and the swivel stand made it easy to position the mic on my desk.

Fig 4: The bottom of the mic holds the USB port, the 3.5 mm stereo headphone output, and a threaded mic-stand mount.

I began by recording a number of vocal tracks using the different polar patterns and setting the Yeti about 12- to 14-inches from my mouth. The microphone did a good job of capturing the low register of my voice in each of the pickup settings, and I would be quite happy to use the Yeti in either omni or cardioid mode for podcasting and solo vocal work: It sounds great.

The Yeti has very little self-noise, but it is very sensitive. For example, at the highest gain settings, it picked up computer-fan vibrations through the desk. Setting the base of the stand on a padded surface fixed the issue.

I tested how the omni and bidirectional modes handle a typical interview setting by setting the mic between me and my wife, as we sat facing each other. In playback, I could not discern any appreciable difference between the two settings—both sounded convincingly warm and natural.

Next I recorded my acoustic guitar using the stereo setting. By leaving the Yeti on my desk and tilting it slightly down, I was able to zero in on my big flat-top’s sweet spot. My normal procedure involves a stereo pair of condenser mics, a tube preamp, and a Firewire interface, so the Yeti was much easier and quicker to setup. Although the Yeti did a good job of capturing the lows and mids, the upper end was not as detailed as I get from my high-end mics. However, the Yeti costs about a tenth as much. With a little EQ on the Yeti’s tracks, I was able to get a sound I could work with.

Next, I decided to see if I could duplicate the classic, monophonic sound of a ‘60s folksinger using the omni pattern. It took a few tries to find the best placement to balance both my voice with my guitar, but once I had it the results were quite pleasing.

Capture It!
Overall, the Yeti is a great sounding USB microphone that not only has four pickup patterns (including stereo), but it offers no-latency headphone monitoring and the ability to serve as an audio output device for your computer. And with a list price under $150, Blue has hit a cost-to-performance sweet spot that no other USB mic currently matches.

Pros: Great value. Easy to use. Multiple patterns offer versatility. Very good audio quality,
Cons: Fixed resolution. I/O level knobs wobble a bit.

Mark Nelson lives in Southern Oregon’s Applegate Valley. He’s been around the block a few times: www.Mark-o.com