CL8
Multi-Pattern Large Diaphragm
Condenser Microphone
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Congratulations on your purchase of the Samson CL8 multi-pattern, studio condenser.
The CL8 features a 1.1-inch, dual-gold-sputtered capsule with an ultra thin, 4-micron dia-
phragm which faithfully reproduce a variety of sound sources including vocals, acoustic
instruments and overhead cymbals, to name a few. And to expand your miking options
and recording techniques, the CL8 features three pickup patterns. The Cardioid pattern is
great for miking applications where tight pickup is desired, and with the Omni and Figure
8 patterns you can mic multiple instruments, capture room sounds and expand your
soundfield. The extended frequency and fast transient response insures an accurate repro-
duction with linear characteristics from bottom to top.
In these pages, you’ll find a detailed description of the features of the CL8 Studio
Condenser Microphone, as well as step-by-step instructions for its setup and use, an expla-
nation of the variable pick-up patterns 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
technical support and so we can send you updated information about these and other
Samson products in the future.
With proper care and adequate air circulation, your CL8 will operate trouble free for many
years. We recommend you record your serial number in the space provided below for
future reference.
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 mate-
rials and if possible, return the unit in the original carton and packing materials.
CL8 Features
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Large diaphragm, multi-pattern studio condenser microphone.
Dual 1.1-inch capsules with 4-micron gold sputtered diaphragm.
Smooth and transparent sound reproduction from bottom to top.
Cardioid, Omni and Figure 8 pickup patterns provide versatility in covering a
variety of miking applications.
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Switchable 10 dB PAD for handling signals with high SPLʼs (Sound Pressure
Levels).
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Switchable Hi-pass Filter, 12dB per octave at 100 Hz.
36-52 Volt Phantom Power operation.
Internal Shock-mounted capsules.
Extended frequency response.
Solid Die Cast construction.
Swivel Stand Mount and Carry Case included.
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Operating the CL8
Powering the CL8
The CL8 is a condenser microphone and therefore needs to be operated by connecting a phan-
tom 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 CL8 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 CL8 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 CL8”. 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
CL8 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. If you try turning the Gain control all the way down, and the
PEAK light is still lighting, try using the CL8’s PAD as explained in the following section.
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Using the PAD Switch
The CL8 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 micro-
phone’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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Using the Hi-Pass Filter
The CL8 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 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 100Hz is applied to
the signal. This can be extremely useful for removing
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low frequency stage rumble, wind noise during outdoor use, and filtering out lows from drums
when used as overhead cymbal microphone on a drum kit.
Polar Patterns
The most important characteristic of any microphone is its directionality or “pickup pattern”.
The CL8’s versatile dual capsule design is capable of producing three useful pick up patterns;
Cardioid, Omni, and Figure 8. It is easy for you to select the pickup pattern using the CL8’s
pattern selection switch located on the rear of the microphone. When choosing a pattern, you
should be aware of the phenomenon known as the “proximity effect”.
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Operating the CL8
Simply put, proximity effect is the change in frequency response as the microphone position
is changed relative to the sound source. Any microphone exhibits its best frequency response
when pointed directly at the sound source (on-axis). Depending on the pickup pattern, the low
frequency response will increase, sometimes greatly, when positioned less than 12 inches away
from the sound source (off-axis). Understanding and knowing how to use the proximity effect
can be a tremendous help in getting just sound you looking for. The following sections details
the three available pickup patterns.
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Cardioid
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While Omni and Bi-directional microphones are very use-
ful for a variety of specialty applications, the majority of
miking situations in recording and live sound require uni-
directional or Cardioid microphones. The CL8 condens-
er’s pickup pattern is Super-cardioid, which offers even
more side-to-side rejection. The uni-directional nature
allows for better separation of instruments in the studio and more control over feedback in live
sound reinforcement. To select the Cardioid pickup pattern, set the pattern selection switch to
the center, Cardioid position indicated by 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.
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Omni
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Omni, or omni-directional, microphones pick up sound
from all directions. To select the Omni pickup pattern, set
the CL8’s pattern selection switch to the right, “O” posi-
tion. 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 pat-
tern 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 micro-
phone while performing. In these situations, using a cardioid pattern can result in the frequency
response changing tremendously with just a few inches of movement resulting 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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Figure 8
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Figure 8, or bi-directional, mics pick up the sound directly
in front and back of the microphone while rejecting the
sound on the left and right sides. To select the Figure-8
pickup pattern set the CL8’s pattern selection switch to
the left, “8” position. In this mode it’s almost like having
two identical microphones facing back-to-back to each
other. This can be an ideal setting for capturing two artists singing a duet or laying down a back-
ground vocal track. Having the two artists face each other while performing can help capture
the emotions that may other wise be missed if two microphones are used. You can also create
some interesting slap back echo effects by positioning the CL8 in Figure-8 pattern between a
recorded instrument and a particular wall in the studio. The rear capsule will pick up the reflec-
tion of the sound off the wall, and by changing the distance of the microphone from the wall
you can actually change the delay time of the echo.
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Operating the CL8
Microphone Placement
In order to maximize the sound quality, you must pay careful attention to the placement of your
CL8 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 the “prox-
imity 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 fre-
quency 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.
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 technique in capturing the optimum sound of drum set, acoustic guitar,
piano or other instruments in a live room or sound stage. Experimentation and experience 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 over a bent clothes hanger, which actually works very well. (For
a cleaner solution, try a PS01 pop filter from Samson Audio.) You can also try placing the micro-
phone 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 CL8
The CL8 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 to your mic stand or boom arm. Now, loosen
the thumbscrew and adjust the microphone to the desired angle. Once set, tighten the thumb-
screw to secure the microphone in place.
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Using the Optional SP01 Shock-Mount
1/ Insert the internal shock-mount
side up. (Figure 1)
Figure 1
2/ Place the microphone carefully into
the SP01 and position the microphone
3/ Tighten the SP01 threaded collar
nearly all the way, then position the
microphone and tighten the collar all
the way.
microphone into the SP01.
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CL8 Specifications
Cardioid Polar Pattern
Cardioid Frequency Response Graph
Figure 8 Frequency Response Graph
Figure 8 Polar Pattern
Omni Frequency Response Graph
Omni Polar Pattern
Max. SPL:
Cardioid
Specifications
Type:
Polar Pattern:
144 dB
147 dB
147 dB
Condenser
Cardioid/Figure 8
Omni
Figure 8
Omni
Signal-to-Noise Ratio:
Cardioid
Frequency Response:
Sensitivity:
20~20 kHz
78 dB
Figure 8
Omni
Dynamic Range:
Power Supply:
Current Consumption:
75 dB
75 dB
128 dB
48V +/-3 dB
4mA
Cardioid
Figure 8
Omni
-37 dBV/Pa
-40 dBV/Pa
-40 dBV/Pa
200 Ohms
Rated Impedance:
Minimum Load Impedance:
Equivalent Noise Level:
Cardioid
1000 Ohms
Specifications subject to change without notice.
16 dB
19 dB
19 dB
Figure 8
Omni
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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