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Application Notes
The CL5 is a great microphone choice for many instrument miking situations. Below is
a brief guide on using the CL5 in some typical applications:
Acoustic Guitar
There are a variety of ways that the CL5 can be used to mic an acoustic guitar. The
microphone placement will depend on the type of instrument and what kind of sound
you’re looking to capture, for example the tonal quality you want to focus on, and how
much finger slide or pick noise you may or may not want. When miking a standard
steel string acoustic, a good place to start is with the microphone positioned point-
ing towards the end of the fingerboard at a distance of about 6 inches to 2 feet away
from the instrument. You can experiment by moving the microphone slightly in the
direction of the sound hole, which will produce more low frequencies, or move it in
the direction of the fingerboard to capture more high-end or to remove any unwanted
boominess. For nylon string acoustic, try positioning the microphone above the
bridge to emphasize more of the attack from the sound of the finger picking, or for
less, move the mic closer to the sound hole. If you have a pair of CL5’s, try one posi-
tioned at the fingerboard and the second over the sound hole.
Piano
You can achieve outstanding results using the CL5 on acoustic piano. Several place-
ment approaches can be used depending on the size of the piano, and the type of
sound you are looking to record. When miking a Grand Piano, (for an ambient sound
like that used in a classical recital), a single CL5 can be positioned directly in front of
the instrument. Open the lid to the full position and place the microphone five to
twenty feet in front of the instrument. For a more contemporary ensemble sound,
place two CL5’s in the piano positioning one over the low strings and the other of the
high strings.
Overhead Drum Kit
Because of it’s extended high frequency response and fast transient response, the CL5
performs outstandingly when used as an overhead cymbal microphone. You can posi-
tion one CL5 on a boom mic stand directly above the kit pointing from front to back.
For stereo miking, use two CL5’s placed over the drum set at a distance of three to five
feet. You can experiment with the exact placement depending on the size of the room
and whether you’re looking for an ambient or close-miked sound. In general, when
miking a drum kit, it’s a good idea to start with the overhead mics. Even though you
use the overhead mics mostly for the cymbals, try to get the entire kit to sound great
in the overheads. Then it will be easier to just bring up your individual mics for more
attack and thickness in the overall sound.
Hi Hat
The CL5 is a perfect microphone for miking Hi Hats thanks to its smooth top end and
the ability to capture fast attack transients. Try placing the microphone over the edge
of the top cymbal. Experiment by moving the mic further over the cymbal to produce
more of a stick sound, but keep in mind it may pick up more of the kit. Remember that
the CL5 has a cardioid frequency response, so position the microphone in the direc-
tion of the Hi hat, but for increased separation, be sure to point the mic away from
other drums or cymbals whenever possible.
CL5 Applications Notes
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