Samson CL8 Multi-Pattern Large Diaphragm Microphone Owners Manual

Samson CL8 Multi-Pattern Large Diaphragm Microphone

Introduction and Features

Congratulations on your purchase of the Samson CL8 multi-pattern, studio condenser. The CL8 features a 1.1-inch, dual-gold-sputtered capsule with an ultra-thin,  phragm that faithfully reproduces a variety of sound sources including vocals, acoustic instruments, and overhead cymbals, to name a few. To expand your miking options and recording techniques, the CL8 features three pickup patterns. The Cardioid pattern is great for miking applications where tight pickup is desired, and with the Omni and Figure 8 patterns, you can mic multiple instruments, capture room sounds, and expand your sound field. The extended frequency and fast transient response ensure an accurate reproduction with linear characteristics from bottom to top.

In these pages, you’ll find a detailed description of the features of the CL8 Studio Condenser Microphone, as well as step-by-step instructions for its setup and use, an explanation of the variable pick-up patterns 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 technical support and so we can send you updated information about these and other Samson products in the future.

With proper care and adequate air circulation, your CL8 will operate trouble- free for many years. We recommend you record your serial number in the space provided below for future reference.

• 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 original carton and packing materials.

CL8 Features

• Large diaphragm, multi-pattern studio condenser microphone.
• Dual 1.1-inch capsules with 4-micron gold-sputtered diaphragm.
• Smooth and transparent sound reproduction from bottom to top.
• Cardioid, Omni and Figure 8 pickup patterns provide versatility in covering a variety of miking applications.
• Switchable 10 dB PAD for handling signals with high SPLʼs (Sound Pressure Levels).
• Switchable Hi-pass Filter, 12dB per octave at 100 Hz.
• 36-52 Volt Phantom Power operation.
• Internal Shock-mounted capsules.
• Extended frequency response.
• Solid die-cast construction.
• Swivel Stand Mount and Carry Case included.

Operating the CL8

Powering the CL8

The CL8 is a condenser microphone and therefore needs to be operated by connecting a phantom power supply. Phantom power is standard on most quality mixers, outboard mic-pres, and hard disk recorders. If necessary, an external phantom supply (like the S phantom by Samson Audio) can also be used. The CL8 receives the phantom power directly from a mic cable when connected to a mixer or other microphone input that includes a phantom supply. The power is actually 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 phantom power is on.

Setting Up the Signal Level

When connecting the CL8 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 in the previous section “Powering the CL8”. Most mixers and recorders of reasonable quality will offer a microphone input with mic trim (usually 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 mixer’s 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 CL8 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 anymore. On most mixers, the ideal setting is that the trim control is turned up as much as possible without lighting the PEAK LED. If you try turning the Gain control all the way down, and the PEAK light is still lighting, try using the CL8’s PAD as explained in the following section.

Using the PAD Switch

The CL8 includes a PAD switch, which you can use to lower the input sensitivity of the microphone. When the PAD switch is set at the 0dB position the PAD is bypassed 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 10 dB. You can use the PAD when you are miking loud sound sources with a high SPL (Sound Pressure Level).

Using the Hi-Pass Filter

The CL8 offers a user-selectable hi-pass, or low-cut filter, which you can use to eliminate any unwanted low-frequency reproduction. When the Hi-pass Filter is set to 2 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” position (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, and wind noise during outdoor use, and filtering out lows from drums when used as an overhead cymbal microphone on a drum kit.

Polar Patterns

The most important characteristic of any microphone is its directionality or “pickup pattern”. The CL8’s versatile dual capsule design is capable of producing three useful pickup patterns; Cardioid, Omni, and Figure 8. It is easy for you to select the pickup pattern using the CL8’s pattern selection switch located on the rear of the microphone. When choosing a pattern, you should be aware of the phenomenon known as the “proximity effect”.

Simply put, the proximity effect is the change in frequency response as the microphone position is changed relative to the sound source. Any microphone exhibits its best frequency response when pointed directly at the sound source (on-axis). Depending on the pickup pattern, the low-frequency response will increase, sometimes greatly, when positioned less than 12 inches away from the sound source (off-axis). Understanding and knowing how to use the proximity effect can be a tremendous help in getting just sound you looking for. The following sections detail the three available pickup patterns.

Cardioid

While Omni and Bi-directional microphones are very useful for a variety of specialty applications, the majority of miking situations in recording and live sound require unidirectional or Cardioid microphones. The CL8 condenser’s pickup pattern is Super-cardioid, which offers even more side-to-side rejection. The uni-directional nature allows for better separation of instruments in the studio and more control over feedback in live sound reinforcement. To select the Cardioid pickup pattern, set the pattern selection switch to the center, Cardioid position indicated by the “heart- shaped” icon. When positioned correctly, the cardioid pickup pattern allows you to pick up more of the sound you want and less of the sound you don’t want.

Omni

Omni, or omnidirectional, microphones pick up sound from all directions. To select the Omni pickup pattern, set the CL8’s pattern selection switch to the right, “O” position. You can use the omni pickup pattern if you want to capture the ambient sound and natural reverb in a room where an instrument or voice is being recorded. The Omni mode is also great for recording ensemble performances from groups of vocals, brass, woodwind and other instruments with the artists facing each other in a circle around the microphone. As an added benefit, the omni pattern is the least susceptible to the proximity effect. This can be extremely useful when recording artists who have a tendency to move their instrument, including their voice, around the microphone while performing. In these situations, using a cardioid pattern can result in the frequency response changing tremendously with just a few inches of movement resulting in a recorded track with the lows moving up and down in volume. Using the omni pick up pattern can help control these tricky miking situations allowing you to capture the best performance without inhibiting the talent by forcing them to try to stay in a fixed position.

Figure 8

Figure 8, or bi-directional, mics pick up the sound directly in front and back of the microphone while rejecting the sound on the left and right sides. To select the Figure-8 pickup pattern set the CL8’s pattern selection switch to the left, “8” position. In this mode, it’s almost like having two identical microphones facing back-to-back to each other. This can be an ideal setting for capturing two artists singing a duet or laying down a background vocal track. Having the two artists face each other while performing can help capture the emotions that may other wise be missed if two microphones are used. You can also create some interesting slap-back echo effects by positioning the CL8 in the Figure-8 pattern between a recorded instrument and a particular wall in the studio. The rear capsule will pick up the reflection of the sound off the wall, and by changing the distance of the microphone from the wall you can actually change the delay time of the echo.

Microphone Placement

In order to maximize the sound quality, you must pay careful attention to the placement of your CL8 and how it is positioned for the instrument or vocalist that you are making. All microphones, especially uni-directional or cardioid microphones, exhibit a phenomenon known as the “proximity effect.” Very simply put, the 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. Specifically, when you point a cardioid mic directly at the sound source (on-axis) you will get the best frequency 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.

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 technique in capturing the optimum sound of the drum set, acoustic guitar, piano, or other instruments in a live room or sound stage. Experimentation and experience are the best teachers in getting good sounds, so plugin!

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 over a bent clothes hanger, which actually works very well. (For a cleaner solution, try a PS01 pop filter from Samson Audio.) 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 CL8

The CL8 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 to your mic stand or boom arm. Now, loosen the thumbscrew and adjust the microphone to the desired angle. Once set, tighten the thumb screw to secure the microphone in place.

Using the Optional SP01 Shock-Mount

1/ Insert the internal shock-mount washer into the SP01 with the curved side up. (Figure 1)

2/ Place the microphone carefully into the SP01 and position the microphone straight into the threaded collar. Figure 2

3/ Tighten the SP01 threaded collar nearly all the way, then position the microphone and tighten the collar all the way.

NOTE: Be careful not to cross-thread the microphone into the SP01.

CL8 Specifications

Cardioid Frequency Response Graph

Cardioid Polar Pattern

Figure 8 Frequency Response Graph

Figure 8 Polar Pattern

Omni Frequency Response Graph

Omni Polar Pattern

• Type: Condenser
• Polar Pattern:
  • Cardioid
  • Figure 8
  • Omni
• Frequency Response: 20~20 kHz
• Sensitivity:
  • Cardioid: -37 dBV/Pa
  • Figure 8: -40 dBV/Pa
  • Omni: -40 dBV/Pa
• Rated Impedance: 200 Ohms
• Minimum Load Impedance: 1000 Ohms
• Equivalent Noise Level:
  • Cardioid: 16 dB
  • Figure 8: 19 dB
  • Omni: 19 dB
• Max. SPL:
  • Cardioid: 144 dB
  • Figure 8: 147 dB
  • Omni: 147 dB
• Signal-to-Noise Ratio:
  • Cardioid: 78 dB
  • Figure 8: 75 dB
  • Omni: 75 dB
• Dynamic Range: 128 dB
• Power Supply: 48V +/-3 dB
• Current Consumption: 4mA

Specifications are subject to change without notice.

Samson Technologies Corp

• Address: 575 Underhill Blvd. P.O. Box 9031 Syosset, NY 11791-9031
• Phone: 1-800-3-SAMSON (1-800-372-6766)
• Fax: 516-364-3888
• Website: www.samsontech.com

FAQs

What are the key features of the Samson CL8 Multi-Pattern Large Diaphragm Microphone?

The Samson CL8 features a 1.1-inch, dual-gold-sputtered capsule with an ultra- thin diaphragm designed to faithfully reproduce various sound sources. It offers three pickup patterns: Cardioid, Omni, and Figure 8, making it versatile for different miking applications. The microphone has an extended frequency response, smooth and transparent sound reproduction, and is built with solid die-cast construction.

How is the Samson CL8 powered?

The Samson CL8 is a condenser microphone and requires phantom power to operate. It can receive phantom power from a mixer, outboard mic-pres, or hard disk recorder with phantom power capability. An external phantom power supply like the S phantom by Samson Audio can also be used if necessary.

How do I set up the signal level when using the Samson CL8 microphone?

When connecting the CL8 to a mixer or recorder input, ensure that the input is set to microphone level. Adjust the mic trim or gain control on your mixer or recorder to optimize the signal level. The ideal setting is to have the trim control turned up as much as possible without triggering the PEAK LED.

What is the purpose of the PAD switch on the Samson CL8?

The Samson CL8 includes a PAD switch that can lower the microphone's input sensitivity by 10 dB when set to the -10dB position. This feature is useful when miking loud sound sources with high Sound Pressure Levels (SPL).

What is the Hi-Pass Filter on the Samson CL8 used for?

The Samson CL8 offers a user-selectable hi-pass (low-cut) filter at 100Hz. When engaged, it eliminates unwanted low-frequency reproduction from the signal. This can be helpful in reducing stage rumble, wind noise in outdoor recordings, and excessive lows from instruments like drums when used as an overhead cymbal microphone.

How do I select the polar pattern on the Samson CL8?

The Samson CL8 microphone has three selectable polar patterns: Cardioid, Omni, and Figure 8. You can choose the desired pattern using the pattern selection switch located on the rear of the microphone.

What is the proximity effect, and how does it affect microphone placement with the Samson CL8?

Proximity effect refers to changes in frequency response when the microphone's capsule is positioned differently relative to the sound source. For cardioid microphones like the CL8, the low-frequency response increases when the microphone is placed closer to the sound source (on-axis). Understanding and utilizing proximity effect can help achieve desired sound characteristics.

How do I prevent P-Popping when using the Samson CL8 for vocals?

P-Popping, caused by bursts of air when pronouncing words with the letter P, can be reduced by using an external pop filter or positioning the microphone slightly off-axis. Proper microphone technique can also help minimize this issue.

How do I mount the Samson CL8 on a microphone stand?

The Samson CL8 can be mounted on a standard microphone stand using the included swivel mount adapter. Ensure that you follow the provided instructions for secure mounting.

What is the purpose of the dual-gold-sputtered capsule in the Samson CL8 microphone?

The dual-gold-sputtered capsule in the Samson CL8 is designed to provide smooth and transparent sound reproduction across a wide frequency range. It enhances the microphone's ability to faithfully capture the nuances of various sound sources, making it suitable for vocals, acoustic instruments, and more.

Can I use the Samson CL8 microphone for live sound applications?

Yes, the Samson CL8 can be used in live sound reinforcement applications. Its versatile pickup patterns, including Cardioid, Omni, and Figure 8, allow you to adapt to different live sound scenarios. It's especially useful when you need to mic multiple instruments or capture room sounds.

Is the Samson CL8 compatible with standard microphone stands and shock mounts?

Yes, the Samson CL8 is compatible with standard microphone stands and comes with a swivel mount adapter for easy attachment. You can also use the optional SP01 Shock-Mount for additional shock absorption and stability.

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