Samson Headphones CL7 User Guide

Large Diaphragm  
Studio Condenser Microphone  
 
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  
3
 
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.  
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Using the PAD Switch  
1
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).  
10  
4
 
Operating the CL7  
2
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.  
2
10  
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.  
5
 
Operating the CL7  
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.  
6
 
Using the Optional SP01 Shock-Mount  
Using the Optional SP01 “Spider” Shock-Mount  
For additional isolation the CL7 can be fit-  
ted on the optional SP01 “Spider” shock  
1
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)  
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.  
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CL7 Specifications  
CL7 Specifications  
Frequency Response  
Polar pattern  
20 ~ 20000 HZ  
Cardioid  
Element type  
Condenser  
Diaphragm thickness  
Sensitivity  
3 microns  
-40 dB/Pa  
Max SPL  
147 dB  
Equivalent Noise Level  
Impedance  
17dB  
200 ohms  
Mininum Load Impedance  
Power supply voltage  
Weight  
1000 ohms  
phantom power 48V +/-3V  
1.1 lbs. (500 g)  
Height: 7" (175 mm)  
Width: 2.125" (54 mm)  
Depth: 2.125" (54 mm)  
Dimensions  
Specifications subject to change without notice.  
CL7 POLAR PATTERN  
0
5
45  
45  
10  
15  
20  
25  
90  
90  
dB  
135  
135  
180  
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  
8
 

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