Samson Headphones C02 User Guide

C02  
Condenser Microphone  
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Introduction and Features  
Thank you for purchasing the Samson C02 Condenser Microphone. The C02 con-  
denser microphone brings a high level of accuracy and audio performance to  
instrument miking applications.  
The C02 is a pencil style condenser microphone that excels in both live perform-  
ance and recording applications. Equipped with a linear frequency response for  
superior reproduction, it is also designed to withstand high sound pressure  
levels. Extremely sensitive, it employs a tight cardioid pattern to reduce feedback.  
A special shock-mounted mic holder is included to minimize noise and provide  
additional protection.  
Should your microphone 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 original carton  
and packing materials.  
Features  
The Samson C02 utilizes state-of-the-art microphone technology and is  
engineered to the finest detail. Here are some of its main features:  
• Extended range frequency response for optimum reproduction and  
exceptionally clear, crisp sound with great transient response.  
• Ultra sensitive, low mass element picks up all of the nuances of any perform-  
ance.  
• Tight cardioid polar pattern minimizes feedback problems and effectively  
rejects signals not originating directly in front of the mic capsule.  
• Withstands high SPLs, lending itself to a wide range of miking  
situations.  
• Special shock-mounted mic holder is included to minimize noise and provide  
additional protection.  
• Rugged brass case ensures reliable performance in even the most demand-  
ing environments.  
• The included foam wind screen can be fitted to greatly reduce wind noise  
when used in an outdoor environment, or for reducing “P Popping” in vocal  
applications.  
• Lightweight and compact, the C02 can be mounted on any standard  
microphone stand using the included shock-mounted mic clip.  
• Included foam-lined impact resistant carrying case for convenience when  
transporting three C02 microphones from venue to venue.  
• Gold plated XLR Connector.  
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Operating the C02  
Microphone Placement and Tone Quality  
Listed are some common microphone placement techniques. Use these sugges-  
tions as a guide and let your ears determine what works best in your situation.  
• Sound source less than 6 inches away from mic—Full sound, pronounced  
bass, increased isolation from background noise.  
• Sound source 6 inches to 2 feet away from mic—Balanced natural sound, less  
bass, some background noise.  
• Sound source 3 to 6 feet away from mic—Thinner ambient sound.  
Guidelines for Microphone Use  
• Aim the microphone at the desired source. Keep unwanted sound sources at a  
135° angle from the front of the microphone (see polar pattern).  
• Place the microphone as close to the sound source as possible.  
• Use the proximity effect to your advantage: The closer the mic is to the sound  
source, the more emphasized the bass response will be.  
• Use the windscreen to suppress unwanted wind noise.  
• Never cup your hand over the microphone grill.  
Operating Notes  
• The C02 will boost bass frequencies when the microphone is between 0—6  
inches from the sound source. As you move the sound source further away  
from the microphone, the bass response will gradually roll off.  
• The C02 has a built-in wind screen which protects against most wind and  
breathing noise. Under adverse conditions, such as high winds, an optional  
foam windscreen can be used.  
• For maximum signal handling capability and minimal distortion, a minimum  
load impedance of 800 ohms should be used. A reduction in output signal  
strength and output clipping level will result with the load at 150 ohms.  
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C02 Applications Notes  
Application Notes  
The C02 is a great microphone choice for many instrument miking situations. Below is a  
brief guide on using the C02 in some typical applications.  
Acoustic Guitar  
There are a variety of ways that the C02 can be used to mic an acoustic guitar. The micro-  
phone placement will depend on the type of instrument and what kind of sound you’re look-  
ing 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 pointing towards the end of the fin-  
gerboard 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 boomieness. For nylon string acoustic try posi-  
tioning 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  
C02’s, try one positioned at the fingerboard and the second over the sound hole.  
Piano  
You can achieve outstanding results using the C02 on acoustic piano. Several placement  
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 C02 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 on the instru-  
ment. For a more contemporary ensemble sound, place two C02’s in the piano positioning  
one over the low strings and the other of the high strings.  
Overhead Drum Kit  
Because of it’s extended high frequency response and fast transient response the C02 per-  
forms outstandingly when used as an overhead cymbal microphone.You can position one  
C02 on a boom mic stand directly above the kit pointing from front to back. For stereo mik-  
ing, use two C02’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.  
Hi Hat  
The C02 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 C02 has a car-  
dioid frequency response, so position the microphone in the direction 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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C02 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  
example, omnidirectional mics accept all signals regardless of where those sig-  
nals 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 cardioid pattern is utilized by the C02 (as shown in the illustra-  
tion below). For this reason, the C02 excels in environments where there is a  
good deal of unwanted ambient sound—it delivers those signals originating  
directly in front of the mic capsule itself while rejecting those that originate from  
behind.  
The polar pattern also determines how prone a particular mic is to inducing feed-  
back. 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 loudspeaker, then into the mic, over and over again until an  
oscillating tone is generated. Because the cardioid pattern utilized by the C02 is  
so good at rejecting signal not coming from directly in front of the mic, you’ll find  
that use of the C02 greatly minimizes feedback problems.  
C02 Polar Pattern  
The C02 can be mounted to any standard microphone stand (using the included  
mic clip) or can be handheld. If handheld, take care not to cover the any part of the  
head grille with your hand. 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 exam-  
ple, 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 experimentation, along with awareness of the general principle that,  
the closer your C02 is to a signal source, the greater the bass response.  
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Wiring Guide and Specifications  
C02 Frequency Chart  
The C02 can be connected to any mixer, mixer/amplifier, or mic preamp using a  
standard microphone cable. As shown in the wiring diagrams below, connect the  
female XLR end directly to the C02’s gold-plated connector and the other end  
(normally a male XLR end, although some mixers use 1/4" connectors) to the  
mixer, mixer/amplifier, or mic preamp.  
C02 Specifications  
Type  
Condenser  
Polar Pattern  
Cardioid  
Frequency Response  
Sensitivity  
40~20000 Hz  
-40 dBV/pa (10mv/pa)  
200  
Raded Impedance  
Equivalent Noise level  
Max. SPL  
22 dB (A weighted IEC/DIN 651)  
134 dB (THD0.5% 1000 Hz)  
112 dB  
Dynamic Range  
Power Supply  
48V Phantom Power (IEC 268-15/DIN  
45596)  
Current Consumption  
Dimensions  
3.5 mA  
ø 20 x 150 mm  
170g  
Weight  
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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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