Samson Microphone CL2 User Guide

CL2  
Condenser Microphone  
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Introduction  
Thank you for purchasing the CL2 Condenser Microphone, stereo matched  
pair kit from Samson Audio. Ideal for a variety of miking applications from  
vocals to instruments, ensembles to soloist, to just about any sound source  
that needs to be amplified or recorded, the CL2 condenser microphone  
brings a high level of accuracy and audio performance. The CL2 is a pencil  
style, externally biased, true capacitor (condenser) pressure gradient micro-  
phone that excels in both live performance and recording applications. For  
added versatility, the CL2 matched pair kit comes with interchangeable omni  
and cardioid capsules featuring three micron, gold-sputtered diaphragms and  
precision-tuned back plates. Equipped with a linear frequency response for  
superior reproduction, the microphone has also been designed to withstand  
high sound pressure level capabilities of 141 dB in cardioid and 138 db in  
omni. The microphone also features a built-in selectable High Pass Filter and  
10dB pad. Plus, the CL2 matched pair kit includes a complete set of useful  
accessories for each microphone. Two 360 degree suspension mounts, two  
micro-perforated stainless steel pop filters, two windscreens, two microphone  
clips and a twin mic holder for stereo miking, fit neatly in the included alumi-  
num carry case protecting the microphones while in storage, in the studio or  
on the road with the band.  
Should your microphone ever require servicing, a Return Authorization num-  
ber (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 original carton and packing materials.  
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Features  
CL2ꢀFeatures  
The Samson CL2 matched pair kit has been produced using state-of-the-art micro-  
phone technology and is engineered to the finest detail. Here are some of its main  
features:  
Extended range linear frequency response for optimum reproduction and excep-  
tionally clear, crisp sound with great transient response. The pair of CL2 micro-  
phones of been matched within 1.5 dB.  
Ultra sensitive, low mass capsules featuring three micron, gold-sputtered dia-  
phragms capture up all of the nuances of any performance.  
The CL2 matched pair kit comes with interchangeable capsules for each micro-  
phone allowing you to configure the microphones for different response patterns.  
The Cardioid polar pattern rejects signals not originating directly in front of the  
mic capsule minimizing feedback problems and providing increased separa-  
tion. The Omni polar pattern picks sounds for all directions producing a natural  
response that’s free from proximity effect.  
High SPL capability of 141 db (cardioid) and 138 db (omni), lending itself to a  
wide range of miking situations like brass percussion.  
Special shock-mounted mic holder is included to minimize noise and provide  
additional protection.  
The CL2 matched pair kit comes with two micro-perforated pop filters that help  
eliminate annoying "p-popping".  
The included foam wind screen can be fitted to greatly reduce turbulent noise  
when used in an outdoor environment.  
Lightweight and compact, the CL2 can be mounted on any standard microphone  
stand using the included shock-mount or mic clip.  
The CL2 matched pair kit also comes with a twin mic mount for stereo miking  
applications.  
Rugged brass case construction ensures reliable performance in even the most  
demanding environments.  
Gold plated XLR Connector provide long-lasting reliable connections.  
Included foam-lined impact resistant aluminum carrying case for convenience  
when transporting two CL2 microphones to or from studios to venues.  
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OperatingꢀtheꢀCL2  
Powering the CL2  
The CL2 is a condenser microphone and therefore needs to be operated by connecting  
a phantom power supply. Phantom power is standard on most quality mixers, outboard  
mic-pres and hard disk recorders. If necessary, an external phantom supply (like the S  
phantom by Samson Audio) can also be used. The CL2 receives the phantom power  
directly from a mic cable when connected to a mixer or other microphone input that  
includes a phantom supply. The power is actually 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 phantom power is  
on.  
Setting Up the Signal Level  
When connecting the CL2 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 in the  
previous section “Powering the CL2. Most mixers and recorders of reasonable quality  
will offer a microphone input with mic trim (usually 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 CL2 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 light-  
ing the PEAK LED. If you try turning the Gain control all the way down, and the PEAK  
light is still lighting, try using the CL2’s PAD as explained in the following section.  
Using the PAD Switch  
The CL2 includes a PAD switch, which you can use to lower the input sensitivity of the  
microphone. When the PAD switch is set at the 0dB position the PAD is bypassed 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 high SPL (Sound Pressure Level), or loud, sound sources.  
Using the Hi-Pass Filter  
The CL2 offers a user selectable hi-pass (low-cut) filter, which you can use to eliminate  
any unwanted low frequency 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” position (indicated with the angled line), a 12dB per  
octave low-cut at 80Hz is applied to the signal. This can be extremely useful for remov-  
ing low frequency stage rumble, wind noise during outdoor use, and filtering out lows  
from drums when used as an overhead cymbal microphone on a drum kit.  
Microphone Placement  
In order to maximize the sound quality, you must pay careful attention to the placement  
of your CL2 and how it is positioned for the instrument or vocalist that you are miking.  
All 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 microphone based on the position of the mic capsule relative to the sound source.  
Specifically, when you point a cardioid mic directly at the sound source (on axis) you  
will get the best frequency response, however when you start pointing the microphone  
slightly away (off axis) you will notice the low frequency response dropping off and the  
microphone will start to sound thinner.  
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OperatingꢀtheꢀCL2  
CL2 Polar Characteristics  
Every microphone has a characteristic polar pattern that determines how well it  
accepts or rejects signal coming from various areas around the microphone. For exam-  
ple, bi-directional or figure-eight microphones pick up directly from the front and  
back while rejecting the signal at the sides and omnidirectional microphones accept  
all signals regardless of where those signals originate (in front of the mic, behind it, to  
the side, etc.). In contrast, directional cardioid mics are specifically designed to accept  
mostly signal coming from directly in front, and to reject signal coming from behind or  
from the side. The CL2 matched pair kit comes complete with both cardioid and omni  
capsules for each microphone adding to the versatility of the microphone kit. Below is  
a description of the Cardioid and Omni pick-up patterns and how they may be useful  
in different applications.  
Note: For information in changing the microphone capsule, see the section Changing the  
CL2 Capsules and Patterns on page 5 in this manual  
Cardioid  
While Omni and Bi-directional microphones are very useful for a variety of specialty  
applications, the majority of miking situations in recording and live sound require  
uni-directional or cardioid microphones. The uni-directional pick-up pattern allows  
for better separation of instruments in the studio and more control over feedback in  
live sound reinforcement. To select the Cardioid pickup pattern, choose the Cardioid  
capsule, indicated by engraved the “heart shaped” icon. When positioned correctly,  
the cardioid pickup pattern allows you to pick up more of the sound you want and  
less of the sound you don’t want. In live sound situations, the polar pattern also deter-  
mines how prone a particular microphone is to inducing feedback. Feedback is that  
characteristic nasty howling sound that occurs when a mic is placed too close to a  
loudspeaker—the signal from the loudspeaker is fed into the mic, then into the loud-  
speaker, then into the mic, over and over again until an oscillating tone is generated.  
The cardioid pattern utilized by the CL2 is so good at rejecting signal not coming from  
directly in front of the microphone, you’ll find that use of the CL2 greatly minimizes  
feedback problems.  
Omni  
Omni, or omni-directional, microphones pick up sound from all directions. To select  
the Omni pickup pattern, choose the Omni capsule, indicated by engraved the “O”  
icon. You can use the omni pickup pattern if you want to capture the ambient sound  
and natural reverb in a room where an instrument or voice is being recorded. The  
Omni mode is also great for recording ensemble performances from groups of vocals,  
brass, woodwind and other instruments with the artists facing each other in a circle  
around the microphone. As an added benefit, the omni pattern is the least susceptible  
to the proximity effect. This can be extremely useful when recording artists who have  
a tendency to move their instrument, including their voice, around the microphone  
while performing. In these situations, using a cardioid pattern can result in the fre-  
quency response changing tremendously with just a few inches of movement result-  
ing in a recorded track with the lows moving up and down in volume. Using the omni  
pick up pattern can help control these tricky miking situations, allowing you to capture  
the best performance without inhibiting the talent by forcing them to try to stay in a  
fixed position.  
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OperatingꢀtheꢀCL2  
Changing the Capsule and Pick-up Pattern  
Changing the Capsule is a simple procedure,  
however special care should be taken when  
handling the capsule.  
Follow these instructions carefully:  
1. If the microphone is plugged in, turn off  
the phantom power and disconnect the  
microphone from its cable.  
2. Carefully unscrew the currently installed  
capsule by rotating it to the left or counter-  
clockwise. (Figure 1) Place the capsule you  
removed in the case for safe storage.  
3. Carefully align the replacement capsule  
and screw in place by rotating it in a right  
or clockwise direction. (Figure 2)  
CL2  
IMPORTANTNOTE: Be careful not to cross  
thread or over tighten the capsule when  
screwing on.  
4. Once the capsule is fully screwed down,  
the microphone is ready to operate. (Figure  
3.)  
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 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. However,  
for a more reliable solution, the CL2 matched  
pair kit comes with two micro perforated pop  
filters which are extremely useful in reducing  
p-popping. For outdoor use you may find the  
included foam windscreen useful for reducing  
the turbulent noise.  
CL2  
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OperatingꢀtheꢀCL2  
StandꢀMountingꢀtheꢀCL2  
The CL2 can be mounted to any standard microphone stand using the included mic  
clip or shock-mounts . Be aware of a phenomenon called the proximity effect which  
causes a noticeable increase in low frequencies (bass response) when a microphone  
is close to the audio source. This can have positive impact—for example, it will cause  
your instrument or voice to sound much fuller when you sing close to the mic than  
when you mic it at a distance. The key to developing the best mic technique is experi-  
mentation, along with awareness of the general principle that, the closer your CL2 is to  
a signal source, the greater the bass response.  
InstallingꢀtheꢀSP-02ꢀShockmountꢀ  
The CL2 matched kit comes with two shock-  
mounts, which you can use to greatly reduce  
any noise transmitted through the mic stand.  
The shockmounts are especial useful in  
reducing the problems caused by a boomy  
soundstage, for example when miking  
overhead cymbals, or even in the studio with  
talent that likes to move a lot on a floor that  
may not be a solid as it should be.  
To use the CL2 with their included  
shockmounts, screw the shockmount on  
a standard mic stand. If you are using a US  
standard 5/8-inch mic stand, remove the  
Euro adapter by unscrewing it from the  
shockmount.  
Once the shockmount is mounted to the  
stand, carefully slide the CL2 through the  
elastic bands of the shockmount.  
Use the thumb screw to set the micro-  
phone angle.  
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CL2ꢀApplicationsꢀNotes  
ApplicationꢀNotes  
The CL2 is a great microphone choice for many instrument miking situations. Below is  
a brief guide on using the CL2 in some typical applications:  
AcousticꢀGuitar  
There are a variety of ways that the CL2 can be used to mic an acoustic guitar. The  
microphone placement will depend on the type of instrument and what kind of sound  
you’re looking to capture, for example the tonal quality you want to focus on, and how  
much finger slide or pick noise you may or may not want. When miking a standard  
steel string acoustic, a good place to start is with the microphone positioned point-  
ing towards the end of the fingerboard at a distance of about 6 inches to 2 feet away  
from the instrument. You can experiment by moving the microphone slightly in the  
direction of the sound hole, which will produce more low frequencies, or move it in  
the direction of the fingerboard to capture more high-end or to remove any unwanted  
boominess. For nylon string acoustic, try positioning the microphone above the  
bridge to emphasize more of the attack from the sound of the finger picking, or for  
less, move the mic closer to the sound hole. If you have a pair of CL2’s, try one posi-  
tioned at the fingerboard and the second over the sound hole.  
Piano  
You can achieve outstanding results using the CL2 on acoustic piano. Several place-  
ment approaches can be used depending on the size of the piano, and the type of  
sound you are looking to record. When miking a Grand Piano, (for an ambient sound  
like that used in a classical recital), a single CL2 can be positioned directly in front of  
the instrument. Open the lid to the full position and place the microphone five to  
twenty feet in front of the instrument. For a more contemporary ensemble sound,  
place two CL2’s in the piano positioning one over the low strings and the other of the  
high strings.  
OverheadꢀDrumꢀKit  
Because of it’s extended high frequency response and fast transient response, the CL2  
performs outstandingly when used as an overhead cymbal microphone. You can posi-  
tion one CL2 on a boom mic stand directly above the kit pointing from front to back.  
For stereo miking, use two CL2’s placed over the drum set at a distance of three to five  
feet. You can experiment with the exact placement depending on the size of the room  
and whether you’re looking for an ambient or close-miked sound. In general, when  
miking a drum kit, it’s a good idea to start with the overhead mics. Even though you  
use the overhead mics mostly for the cymbals, try to get the entire kit to sound great  
in the overheads. Then it will be easier to just bring up your individual mics for more  
attack and thickness in the overall sound.  
HiꢀHat  
The CL2 is a perfect microphone for miking Hi Hats thanks to its smooth top end and  
the ability to capture fast attack transients. Try placing the microphone over the edge  
of the top cymbal. Experiment by moving the mic further over the cymbal to produce  
more of a stick sound, but keep in mind it may pick up more of the kit. Remember that  
the CL2 has a cardioid frequency response, so position the microphone in the direc-  
tion of the Hi hat, but for increased separation, be sure to point the mic away from  
other drums or cymbals whenever possible.  
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WiringꢀGuide  
The CL2 can be connected to any mixer, mixer/amplifier, or mic preamp using a stan-  
dard microphone cable. As shown in the wiring diagrams below, connect the female  
XLR end directly to the CL2’s gold-plated connector and the other end (normally a  
male XLR end, although some mixers use 1/4" connectors) to the mixer, mixer/ampli-  
fier, or mic preamp.  
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Specifications  
CL2ꢀSpecifications  
Type  
Condenser  
Cardioid, Omni  
20~20000 Hz  
Polar Pattern  
Frequency Response  
Sensitivity  
Cardioid  
Omni  
Rated Impedance  
Equivalent Noise level  
Cardioid  
-37 dBV/pa (14.1mv/pa)  
-36 dBV/pa (15.8mv/pa)  
200Ω  
19 dB (A weighted IEC/DIN 651)  
18 dB (A weighted IEC/DIN 651)  
Omni  
Max. SPL  
Cardioid  
134 dB (THD≤ 0.5% 1000 Hz)  
Omni  
133 dB (THD≤ 0.5% 1000 Hz)  
Power Supply  
Current Consumption  
Dimensions  
Weight  
48V Phantom Power (IEC 268-15/DIN 45596)  
< 3 mA  
ø 20 x 150 mm  
170g  
CL2 Cardioid Frequency Chart  
CL2 Omni Frequency Chart  
CL2 Cardioid Polar Pattern  
CL2 Omni Polar Pattern  
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Samson Technologies Corp.  
45 Gilpin Avenue  
Hauppauge, New York 11788-8816  
Phone: 1-800-3-SAMSON (1-800-372-6766)  
Fax: 631-784-2201  
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