Samson R21 Bedienungsanleitung

DYNAMIC

MICROPHONE

OWNERS

MANUAL

Printed May, 2001

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

Thank you for purchasing the Samson

R21

Dynamic Microphone. The

R21

dynamic

microphone brings a high level of accuracy and audio performance to vocal miking

applications.

The

R21

is a hand held dynamic microphone that excels

both live performance

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 element minimizes handling noise and provides

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

the original carton

and packing materials

Features

"The

Samson

R21

utilizes state-of-the-art microphone technology and

engineered to the finest detail. Here are some of its main features:

• Tight cardioid polar pattern minimizes feedback problems and effectively

rejects signals not originating directly

front of the mic capsule.

• Extended range frequency response for optimum reproduction and

exceptionally clear, crisp sound.

• Special shock-mounting allows movement of the mic element to greatly

reduce handling noise.

• Rugged zinc alloy die-casting case ensures reliable performance

even the

most demanding environments.

• Lightweight and compact, the

R21

can be mounted on any standard

microphone stand (using the included mic clip) or can be easily handheld

for long periods without inducing fatigue.

• Included foam-lined impact resistant carrying case for convenience when

transporting three

R21

microphones from venue to venue.

• Withstands high SPLs lending itself to a wide range of miking

situations

• Ultra sensitive element picks

all of the nuances of any performance

• Gold plated XLR Connector

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

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

to the sound

source, the more emphasized the bass response will

be.

• Use a windscreen to suppress unwanted wind noise.

• Never cup your hand over the microphone grill.

Operating Notes

• The

R21

will boost bass frequencies when the microphone

between

0-6

inches from the sound source.

you move the sound source further away

from the microphone, the bass response will gradually roll

off.

• The

R21

has a built-in wind screen which protects against most wind and

breathing noise. Under adverse conditions, such as high winds,

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

output signal

strength and output clipping level will result with the load at 150 ohms.

The

R211

can be connected to any mixer, mixer/amplifier,

mic preamp using a

standard microphone cable. As shown

the wiring diagrams below, connect the

female XLR end directly to the

R21

'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,

mic preamp.

Common

(1)

Common

(1)

Solder Points

f /

---r-----LC"I--j

tSolder

Point

•

?Bel

]1--f-----=j[

F-«

End

View

L-------'--

ie11

Cold

(3)

Female

XLR

Cold

(3)

Male

XLR

Tip

(Hot)

Hot

~:~k~~~)e

amu.Lr------,..------1[

t CommoJand

ld _

__,_

F_e_

m_a

_X_L_R

___j

Sleeve

(Common

and Cold)

Tip

(Hot) I

Ring

(Cold)

Common

(1)

Male

Phone

\ j

,.---

......

C"I-1 \

Solder

Point

Jack(TRS)

<!:

r----.-

-----{

[

t t j

iew

Common

Female

XLR

Col

(3)

Sleeve

(Common)

The

R21

can be mounted to any standard microphone stand (using the included

mic clip) or can be handheld; due to its unique mic element shock mounting, it

generates significantly less handling noise than most other microphones.

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

low

frequencies (bass response) when a microphone is close to the audio source.This

can have positive impact-for example, it will cause your voice to sound much fuller

when you sing close to the mic than when you sing at a distance. The

R21

is spe-

cially designed to be used up close, since

provides a built-in windscreen for

removal of pops, sibilance and onstage noise. The key to developing the best mic

technique is experimentation, along with awareness of the general principle that,

the closer your

R21

is to a signal source; the greater the bass response.

+10

-10

-20

50 1

200

500 1000 2000

5000

10000 20000

R21 Frequency Chart

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 wherever those

signals originate (in front of the mic, behind

it,

to the side, etc.).

contrast, directional cardioid mics are specificafly designed to accept mostly

signal coming from directly

front, and

-to

reject signal coming from behind or

from the side. The cardioid pattern

utilized by the

R21

(as shown

the illustra-

tion below). For this reason, the

R21

excels

environments where there is a

good deal of unwanted ambient

sound-it

delivers those signals originating

directly

front of the mic capsule itself while rejecting those that originate from

behind.

The polar pattern also determines how prone a particular mic

to inducing feed-

back. Feedback

that characteristic nasty howling sound that occurs when a mic

placed too close to a

loudspeaker-the

signal from the loudspeaker

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

R21

so good at rejecting signal not coming from directly

front of the mic, you'll find

that use of the

R21

greatly minimizes feedback problems.

250Hz

500Hz

................

1000Hz---

R21

Specifications

Type

Frequency Response

Polar Pattern

Output Impedance

Sensitivity

Connector

Dimensions

Weight

Head length

Main unit length

Total length

1802

2000Hz

4000Hz

8000Hz

R21 Polar Pattern

Dynamic

80Hz-12kHz

Cardioid

Rated at

soon

-53 dBVIpa (1.8 mvlpa)

3-pin gold plated balanced XLR male

2.125 in. I 53.97 mm

4.56 in. I 115.88 mm

6.85 in. I 169.8 mm

7 oz. I 217 g

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

[email protected] • www.samsontech.com

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