Samson CM12C Bedienungsanleitung
AUDIO
CM12C
CM12C
CM12C
HANGING MINIATURE CONDENSER
CHOIR MICROPHONE
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Copyright 2005, Samson Technologies Corp.
Printed Jan. 2005
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
Table Of Contents
Introduction 2
CM12C Features 3
Using the CM12C 4-5
Powering the CM12C 4
Microphone Placement and Positioning
4
-
5
CM12C Polar Pattern 6
CM12C Frequency Response 7
CM12C Specifications 8
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2
Introduction
Thank you for purchasing the CM12C hanging microphone from Samson Audio! The CM12C is a miniature hang-
ing condenser microphone which can placed over an orchestra, choir or sound stage, and with its minimal profile, is
mostly undetectable from even a slight distance. The CM12C features a permanently charged condenser element
with a cardioid pickup pattern. The microphone exhibits excellent rear rejection providing maximum gain before feed-
back. The CM12C includes a steel hanger that allows the microphone to be pointed, and fixed, towards the position
of the sound source. The microphone is supplied with a 30 foot cable terminating in a mini female XLR which con-
nects to the included, PM5 power module with standard male XLR connector. The CM12C operates on standard 9
through 52 Volt phantom power supply. A multi-stage pop filter is also included. The microphone element is protected
by rugged metal housing and the entire microphone has a low reflectance, matte black finish.
Should your CM12C Instrument Microphone or PM5 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 material and, if possible, return the CM12C in its original carton and packing materials.
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3
CM12C Features
The Samson CM12C utilizes state-of-the-art microphone technology and is engineered to the finest detail. Here
are some of its main features:
• Miniature hanging Choir Mic
• Mini XLR connector
• Steel Hanging positioning bracket
• Includes 30-foot cable with mini XLR connector
• PM5 Mini to standard XLR adapter
• Multistage windscreen
• Standard 9 – 52 Volt Phantom Power Operation
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Powering the CM12C
The CM12C is a condenser microphone and therefore it needs to be operated by connecting a phantom
power supply. The CM12C operates on any phantom supply which provides 9 through 52 volts. Phantom
power is standard on most quality mixers. If necessary, an external phantom supply,
like the Samson
S phantom,
can also be used. The CM12C receives the phantom power directly from a mic connector or
cable when connected to a mixer that includes a phantom supply. The power is sent OUT of the microphone
INPUT, riding silently along with the audio signal. Most mixers have a switch to engage the phantom power,
so be sure to check that the phantom power is on.
Microphone Placement and Positioning
The CM12C was designed to hang over a orchestra, choir or sound stage. Since the CM12C is a uni-direc-
tion pick-up pattern, be sure to position the microphone towards the sound you want to pick up, and away from
sound you do not want to pick up. In order to maximize the sound quality, you must pay careful attention to
the placement of your CM12C and how it is positioned for the instrument or vocalist that you are miking. All
Using the CM12C
4
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Microphone Placement and Positioning - continued
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 microphone based
on the position of the mic capsule relative to the sound source. Generally, you will get a bass boost when mik-
ing 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 microphone will start to sound thinner.
Using the CM12C
5
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CM12C Polar Pattern
6
Every microphone has a characteristic polar pattern that determines how well it accepts or rejects signal com-
ing from various areas around the microphone. For example, omnidirectional mics 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 cardioid pattern is utilized by the CM12C
(as shown in the illustration below). For this reason, the CM12C excels in envi-
ronments 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
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 loudspeaker, then into the mic, over and over
again until an oscillating tone is generated. Because the cardioid pattern utilized
by the CM12C is so good at rejecting signal coming from in the rear of the mic,
youʼll find that use of the CM12C greatly minimizes feedback problems.
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7
CM12C Frequency Response
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CM12C Specifications
8
CM12C Specifications
Element Type Fixed charge condenser
Polar Pattern Cardioid (Uni-directional)
Frequency response 50 - 18000Hz
Sensitivity -40dB/Pa
Rated impedance 200
SPL 136dB
Dynamic range 112dB
S/N ratio 70dB
Power Supply 9 - 52V phantom supply
Power consumption 2.5mA
27
106.5
9.5
97
19
20
30 Feet
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