Samson R21 Bedienungsanleitung

DYNAMIC MICROPHONE

OWNERS MANUAL

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 in 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 in the original carton

and packing materials

Features

The Samson R21 utilizes state-of-the-art microphone technology and is

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 in 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 in 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.

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

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 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 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 R21 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.

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

situations

•Ultra sensitive element picks up all of the nuances of any performance

•Gold plated XLR Connector

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.).

The R211 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 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, or mic preamp.

Female XLR

Male XLR

Hot (2)

Cold (3)

Common (1)

Hot (2)

Cold (3)

Common (1)

Solder Points

End Vie

End View

Solder Points

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. 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 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 it 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.

-20

-10

+10

50 100 200 500 1000 2000 5000 10000 20000

R21 Frequency Chart

Female XLR

Hot (2)

Cold (3)

Common (1)

Solder Points

End Vie

Female XLR

Male Phone

Jack (TS)

Male Phone

Jack (TRS)

Hot (2)

Cold (3)

Common (1)

Solder Points

End Vie

Tip (Hot) Hot

Cold

Ring (Cold)

Sleeve (Common)

Tip (Hot) Hot

Sleeve (Common and Cold)

Common

Common and Cold

250 Hz

500 Hz

1000 Hz

2000 Hz

4000 Hz

8000 Hz

0º

180º

315º

270º90º

45º

235º135º

R21 Polar Pattern

R21 Specifications

Type Dynamic

Frequency Response 80 Hz - 12 kHz

Polar Pattern Cardioid

Output Impedance Rated at 500Ω

Sensitivity -53 dBV/pa (1.8 mv/pa)

Connector 3-pin gold plated balanced XLR male

Dimensions

Head length 2.125 in. / 53.97 mm

Main unit length 4.56 in. / 115.88 mm

Total length 6.85 in. / 169.8 mm

Weight 7 oz. / 217 g

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 R21 (as shown in the illustra-

tion below). For this reason, the R21 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 R21 is

so good at rejecting signal not coming from directly in front of the mic, you’ll find

that use of the R21 greatly minimizes feedback problems.

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

ser[email protected] •www.samsontech.com

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