Samson CL7 Bedienungsanleitung

Large Diaphragm

Studio Condenser Microphone

PROFESSIONAL MICROPHONES

Table Of Contents

Introduction 3

CL7 Features 3

Operating the CL7 4

Powering the CL7 4

Setting up the Signal Level 4

Using the PAD switch 4

Using the Hi-pass Filter switch 5

Polar Pattern 5

Microphone Placement 6

P-Popping 6

Stand Mounting 6

Using the Optional SP01 “Spider” Shock-Mount 7

Specifications 8

K-TEAM

PRODUCTION

Printed December, 2003

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

www.samsontech.com

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

•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)

•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

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.

Using the PAD Switch

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).

Operating the CL7

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.

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.

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.

Operating the CL7

Using the Optional SP01 “Spider” Shock-Mount

Using the Optional SP01 Shock-Mount

For additional isolation the CL7 can be fit-

ted on the optional SP01 “Spider” shock

mount. Follow the steps below to install

the SP01.

•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.

•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.

•Secure the SP01 by reinstalling the

threaded collar, rotating clockwise

until tight. (Figure 2)

•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.

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

www.samsontech.com

45 45

9090

135 135

180

CL7 POLAR PATTERN

CL7 Specifications

Frequency Response 20 ~ 20000 HZ

Polar pattern Cardioid

Element type Condenser

Diaphragm thickness 3 microns

Sensitivity -40 dB/Pa

Max SPL 147 dB

Equivalent Noise Level 17dB

Impedance 200 ohms

Mininum Load Impedance 1000 ohms

Power supply voltage phantom power 48V +/-3V

Weight 1.1 lbs. (500 g)

Dimensions Height: 7" (175 mm)

Width: 2.125" (54 mm)

Depth: 2.125" (54 mm)

Specifications subject to change without notice.

CL7 Specifications

Inhaltsverzeichnis

Andere Samson Mikrofon Handbücher

Samson

Samson Meteor Mic Bedienungsanleitung

Samson

Samson G Track Bedienungsanleitung

Samson

Samson 7KIT Bedienungsanleitung

Samson

Samson Go Mic Direct Bedienungsanleitung

Samson

Samson G Track Bedienungsanleitung

Samson

Samson LM10 Bedienungsanleitung

Samson

Samson S12 Bedienungsanleitung

Samson

Samson Q2 Bedienungsanleitung

Samson

Samson MTR101 Bedienungsanleitung

Samson

Samson G-Track Pro Bedienungsanleitung

Samson

Samson C03U Bedienungsanleitung

Samson

Samson SE50x Bedienungsanleitung

Samson

Samson Go Mic Bedienungsanleitung

Samson

Samson R21 Bedienungsanleitung

Samson

Samson G-Track Pro Bedienungsanleitung

Samson

Samson C03 Bedienungsanleitung

Samson

Samson CM15P Bedienungsanleitung

Samson

Samson Meteor Mic Bedienungsanleitung

Samson

Samson Go Mic Bedienungsanleitung

Samson

Samson MTR231 Bedienungsanleitung

Samson

Samson R21 Bedienungsanleitung

Samson

Samson C03U Bedienungsanleitung

Samson

Samson SE50 Bedienungsanleitung

Samson

Samson Q2U Recording Pak Bedienungsanleitung

Beliebte Mikrofon Handbücher anderer Marken

IK Multimedia

IK Multimedia iRig Stream MIC PRO Bedienungsanleitung

DAPAudio

DAPAudio RM-101 Bedienungsanleitung

AKG

AKG CHM 21 Bedienungsanleitung

Sennheiser

Sennheiser evolution wireless series EM 100 Bedienungsanleitung

Sony

Sony C-48 Bedienungsanleitung

GIGAMEDIA

GIGAMEDIA GGM PAMICUHFG Bedienungsanleitung

Shure

Shure WH30TQG Bedienungsanleitung

auna PRO

auna PRO MIC-900 Bedienungsanleitung

AKG

AKG D 3800 Bedienungsanleitung

Shure

Shure KSM141 Bedienungsanleitung

MAIIN SOUND

MAIIN SOUND IIN style Bedienungsanleitung

Earthworks

Earthworks TC25 Bedienungsanleitung

Sennheiser

Sennheiser evolution D1 Bedienungsanleitung

Alesis

Alesis MicLink Wireless Bedienungsanleitung

DSPPA

DSPPA D6234 Bedienungsanleitung

Monacor

Monacor IMG STAGELINE ECM-300B Bedienungsanleitung

Ansr Audio

Ansr Audio Scan16 Bedienungsanleitung

Shure

Shure MXA710 Series Bedienungsanleitung