3
Powering the CL2
The CL2 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 CL2 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 CL2 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 CL2”. 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 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 CL2 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 light-
ing the PEAK LED. If you try turning the Gain control all the way down, and the PEAK
light is still lighting, try using the CL2’s PAD as explained in the following section.
Using the PAD Switch
The CL2 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 10dB. You can use the PAD when you
are miking high SPL (Sound Pressure Level), or loud, sound sources.
Using the Hi-Pass Filter
The CL2 offers a user selectable hi-pass (low-cut) filter, which you can use to eliminate
any unwanted low frequency 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” position (indicated with the angled line), a 12dB per
octave low-cut at 80Hz is applied to the signal. This can be extremely useful for remov-
ing low frequency stage rumble, wind noise during outdoor use, and filtering out lows
from drums when used as an overhead cymbal microphone on a drum kit.
Microphone Placement
In order to maximize the sound quality, you must pay careful attention to the placement
of your CL2 and how it is positioned for the instrument or vocalist that you are miking.
All 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.
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.
Operating the CL2
3
