Large Diaphragm
Studio Condenser Microphone
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Introduction
Congratulations on your purchase of the Samson CL7 studio condenser. The
CL7 features a large, 1.1-inch, ultra thin diaphragm capsule which faithfully
reproduces a variety of sound sources including vocals, acoustic instruments
and overhead cymbals, to name a few. The extended frequency and fast tran-
sient response insures an accurate reproduction with linear characteristics from
bottom to top.
In these pages, you’ll find a detailed description of the features of the CL7
Studio Condenser Microphone, as well as step-by-step instructions for its setup
and use, and full specifications. You’ll also find a warranty card enclosed—
please don’t forget to fill it out and mail it in so that you can receive online tech-
nical support and so we can send you updated information about these and
other Samson products in the future.
With proper care, your CL7 will operate trouble free for many years. We recom-
mend you record your serial number in the space provided below for future ref-
erence.
Serial number:
Date of purchase:
Should your unit ever require servicing, a Return Authorization number (RA)
must be obtained before shipping your unit to Samson. Without this number, the
unit will not be accepted. Please call Samson at 1-800-3SAMSON (1-800-372-
6766) for a Return Authorization number prior to shipping your unit. Please
retain the original packing materials and if possible, return the unit in the origi-
nal carton and packing materials.
CL7 Features
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Large Diaphragm Studio Condenser
1.1” Capsule with 3-micron Gold Sputtered Diaphragm
Switchable Hi-pass Filter, 12dB per octave at 100 Hz
Switchable 10 dB PAD for handling signals with high SPL’s (Sound
Pressure Levels)
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Smooth and transparent sound reproduction
Cardioid pick-up pattern
36-52 Volt Phantom Power operation
Internal Shock-mount
Extended frequency response
Solid Die Cast construction
Swivel Stand Mount and Carry Case included
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Operating the CL7
Powering the CL7
The CL7 is a condenser microphone and therefore needs to be operated by
connecting a phantom power supply. Phantom power is standard on most quali-
ty mixers, outboard mic-pres and hard disk recorders. If necessary, an external
phantom supply can also be used. The CL7 receives the phantom power direct-
ly from a mic cable when connected to a mixer or other microphone input that
includes a phantom supply. The power is sent OUT of the microphone INPUT,
riding silently along with the audio signal. (Fairly mysterious, eh?) Most mixers
have a switch to engage the phantom power so be sure to check that the phan-
tom power is on.
Setting Up the Signal Level
When connecting the CL7 to a mixer or recorder input, be sure that the input is
of microphone level. Also, be sure that the phantom power is engaged as
explained the previous section “Powering the CL7”. Most mixers and recorders
of reasonable quality will offer a microphone input with mic trim (usual called
Trim or Gain) control. The purpose of the mic trim control is to optimize the
amount of good signal to any noise associated with the mixers electronics. A
good mic pre with trim also will have a PEAK or CLIP LED. To set a good level
on the mic, set the CL7 up in front of the desired sound source and slowly raise
the mic trim control until you see the PEAK LED light up. Then, turn the mix
trim control down until the LED does not light any more. On most mixers, the
ideal setting is that the trim control is turned up as much as possible without
lighting the PEAK LED.
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Using the PAD Switch
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The CL7 includes a PAD switch, which
you can use to lower the input sensitiv-
ity of the microphone. When the PAD
switch is set to the 0dB position the
PAD is by-passed and there is no
effect on the signal. When the PAD
switch is set to the –10dB position, the
microphone’s input sensitivity will be
lowered by 10dB. You can use the
PAD when you are miking loud sound
sources with a high SPL (Sound
Pressure Level).
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Operating the CL7
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Using the Hi-Pass Filter
The CL7 offers a user selectable hi-
pass, (or low-cut filter), which you can
use to eliminate any unwanted low fre-
quency reproduction. When the Hi-
pass Filter is set to the “flat” (indicated
by the straight line) position, there is
no effect on the signal. When the Hi-
pass switch is set to the “roll-off” posi-
tion (indicated with the angled line), a
12dB per octave low-cut at 100Hz is
applied to the signal.
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This can be extremely useful for
removing low frequency stage rumble,
wind noise during outdoor use, and fil-
tering out lows from drums when used
as overhead cymbal microphone on a
drum kit.
Polar Pattern
The most important characteristic of any microphone is its directionality or “pick-
up pattern”. There are three basic categories of pick up patterns; omni, bi and
uni-directional. Omni mics pick up sound from all directions, bi-directional (fig-
ure 8) mics pick up the sound directly in front and back of the microphone while
rejecting the sound on the left and right sides, and uni-directional (cardioid) mics
pick up the sound in front of the microphone.
While omni and bi-directional microphones are very useful for a variety of appli-
cations, the majority of “miking” situations in recording and live sound require
uni-directional or cardioid microphones. The uni-directional nature allows for
better separation of instruments in the studio and more control over feedback in
live sound reinforcement. When positioned correctly the hyper-cardioid pick-up
pattern allows you to pick up more of the sound you want and less of the sound
you don’t want.
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Operating the CL7
Microphone Placement
In order to maximize the sound quality, you must pay careful attention to the
placement of your CL7 and how it is positioned for the instrument or vocalist
that you are miking. All microphones, especially uni-directional or cardioid
microphones, exhibit a phenomenon known as “proximity effect.” Very simply
put, proximity effect is a resulting change in the frequency response of a micro-
phone based on the position of the mic capsule relative to the sound source.
Generally, you will get a bass boost when miking in close. When you point a
cardioid mic directly at the sound source (on axis) you will get the best frequen-
cy response, however when you start pointing the microphone slightly away (off
axis) you will notice the low frequency response dropping off and the micro-
phone will start to sound thinner.
For most vocal applications you’ll want to position the microphone directly in
front of the artist. The same may be true for miking instruments, however, you
can make some pretty amazing equalization adjustments by slightly changing
the angle of the capsule to the sound source. This can be a very useful tech-
nique in capturing the optimum sound of drum set, acoustic guitar, piano or
other instruments in a live room or sound stage. Experimentation and experi-
ence are the best teachers in getting good sounds, so plug in!
P-Popping
P-Popping is that annoying pop that you can get when the microphone
diaphragm gets a blast of air from a vocalist pronouncing words with the letter
“P” included. There are a few ways to deal with the problem including using an
external pop filter. Some famous engineers have relied on an old nylon stocking
stretched over a bent clothes hanger, which actually works very well. You can
also try placing the microphone slightly off axis (on a slight angle) from the
vocalist. This can often solve the problem without using an external pop filter.
Stand Mounting the CL7
The CL7 can be mounted to a standard microphone stand using the included
swivel mount adapter. If you are using a U.S. 5/8” mic stand, you will need to
remove, by unscrewing, the Euro stand adapter. Simply screw on the swivel
adapter on your mic stand or boom arm. Now, loosen the thumbscrew and
adjust the microphone to the desired angle. Once set, tighten the thumbscrew
to secure the microphone in place.
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Using the Optional SP01 Shock-Mount
Using the Optional SP01 “Spider” Shock-Mount
For additional isolation the CL7 can be fit-
ted on the optional SP01 “Spider” shock
1
mount. Follow the steps below to install
the SP01.
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First, screw the SP01 shock mount
onto your mic stand or boom arm. If
you’re using a US 5/8” mic stand or
boom, remove the Euro adapter.
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Remove the CL7 swivel mount by
rotating the threaded collar counter-
clockwise as shown in figure 1.
Install the CL7 into the SP01 by fitting
the microphone into the center of the
web, positioning the CL7 onto the bot-
tom mounting plate.
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Secure the SP01 by reinstalling the
threaded collar, rotating clockwise
until tight. (Figure 2)
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Now, loosen the thumb screw to
adjust the angle of the microphone
and position the CL7 to the desired
location. Once set, tighten the thumb-
screw to secure the microphone in
place.
Note: Be careful not to cross thread
or over tighten the threaded collar or
thumb screw.
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CL7 Specifications
CL7 Specifications
Frequency Response
Polar pattern
20 ~ 20000 HZ
Cardioid
Element type
Condenser
Diaphragm thickness
Sensitivity
3 microns
-40 dB/Pa
Max SPL
147 dB
Equivalent Noise Level
Impedance
17dB
200 ohms
Mininum Load Impedance
Power supply voltage
Weight
1000 ohms
phantom power 48V +/-3V
1.1 lbs. (500 g)
Height: 7" (175 mm)
Width: 2.125" (54 mm)
Depth: 2.125" (54 mm)
Dimensions
Specifications subject to change without notice.
CL7 POLAR PATTERN
0
5
45
45
10
15
20
25
90
90
dB
135
135
180
Samson Technologies Corp.
®
575 Underhill Blvd.
P.O. Box 9031
Syosset, NY 11791-9031
Phone: 1-800-3-SAMSON (1-800-372-6766)
Fax: 516-364-3888
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