Samson MTR201A User Manual

Copyright 2013, Samson Technologies Corp.
v2

Samson Technologies Corp.
45 Gilpin Ave
Hauppauge, NY 11788
www.samsontech.com

Introduction

Thank you for purchasing the Samson MTR201 studio condenser microphone.
Samson has a long history of developing high-quality microphones for live and
recording applications. The MTR series is our latest and most advanced line of
microphones featuring stunning sound reproduction and innovative design.

The MTR201 will quickly become your favorite tool in the studio, whether captur­ing vocals, acoustic or electric instruments. The microphone features a 1” gold
sputtered diaphragm providing an extended flat frequency response ensuring
accurate, linear reproduction of your music. With its wide dynamic range and
handling high sound pressure levels, the MTR201 excels at picking up everything
from very soft, to loud thunderous sounds.

For additional isolation from unwanted noises, the microphone comes with the
MSM1 shockmount. The revolutionary new design also allows for the MPF1 pop
filter to be mounted directly to the microphone making setup a breeze.

In these pages, you’ll find a detailed description of the features of the MTR201,
as well as instructions for its setup and use, and full specifications. If your
microphone was purchased in the United States, you’ll also find a warranty card
enclosed—don’t forget to fill it out and mail it in so that you can receive online
technical support and so that we can send you updated information about this
and other Samson products in the future. Also, be sure to check out our website
(www.samsontech.com) for complete information about our full product line.

We recommend you keep the following records for reference, as well as a copy of
your sales receipt.

Serial number: ________________________________________________

Date of purchase: ______________________________________________

Dealer name: __________________________________________________

With proper care and maintenance, your MTR201 will operate trouble-free for
many years. Should your microphone ever require servicing, a Return Authoriza­tion (RA) number must be obtained before shipping the microphone to Sam­son. Without this number, the unit will not be accepted. Please call Samson at
1-800-3SAMSON (1-800-372-6766) for an RA number prior to shipping your
unit. Please retain the original packing materials and, if possible, return the unit
in its original carton. If your MTR201 was purchased outside of the United States,
contact your local distributor for warranty details and service information.

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ESPAÑOLITALIANO FRANÇAISDEUTSCHE

MTR201 Studio Condenser Microphone

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Features

• Large diaphragm studio condenser

• 1” gold-sputtered capsule

• Smooth and transparent sound reproduction

• Cardioid pick-up pattern

• 48 volt phantom power operation

• 10dB attenuation switch

• Internal capsule shock mounting

• Extended smooth frequency response

• Durable die cast construction

• Gold-plated XLR connector

Accessories

• MSM1 shockmount

• MPF1 Pop filter

• Carry Case

4

Powering

The MTR201 is a condenser microphone and therefore requires 48V phantom
power. Phantom power is provided by a mixer’s preamplifier channel or if neces­sary, an external phantom power supply and sent to the microphone along a bal­anced microphone cable.

To ensure the longevity of your equipment, and is good mixing etiquette, always
turn down the master fader and monitor controls to zero when switching the phan­tom power on or off.

Poor microphone performance can be attributed to phantom power issues. If you
notice that the microphone is exhibiting reduced signal output, increased noise, or
decreased headroom (distortion), there may be an issue with the phantom power
supply or the microphone cables.

Setting the Microphone Level

When connecting the MTR201 to a mixer, use a balanced cable and be sure that
the input is balanced and connected to a channel that is set for microphone level.
Also, be sure that the phantom power is engaged. 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 over any noise that may be associated with the mixer’s electronics. A
good mic pre with trim will have a peak or clip indicator. To set an optimal level
on the mic, place the MTR201 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. For most applications,
the ideal setting is to set the trim control as high as possible without lighting the
peak indicator.

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Polar Pattern

An important characteristic of any microphone is its directionality or polar pattern.
There are three basic classifications of polar patterns:

Omnidirectional - captures sound from all directions

Bidirectional (figure-8) - captures sound directly in front and back of the micro­phone while rejecting sound on the left and right sides

Unidirectional (cardioid) - captures sound in front of the microphone and rejects
sound from the sides and back

The MTR201 is a unidirectional microphone which allows for better separation of
instruments in the studio, and picks up more of the instrument sound in relation
to the sound of the room. See the section on “Microphone Placement” on page
7 for some considerations when placing the microphone in different recording
applications.

MTR201 Studio Condenser Microphone

ESPAÑOLITALIANO FRANÇAISDEUTSCHE

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10dB Attenuation Switch

The MTR201 includes a 10dB attenuation pad that can be selected with the slide
switch located below the grill, which is used to prevent overloading the onboard
preamplifier by lowering the input sensitivity of the microphone preamplifier
circuit. Setting the switch to the left (0dB position) the control is bypassed and
there is no effect on the signal. When the switch is set to the right (-10dB posi­tion) the input sensitivity of the microphone will be lowered by 10dB. This is use­ful when close miking loud sound sources with very high transient sounds, such as
drums, cymbals or brass instruments.

Before setting the attenuation pad switch to the -10dB position, it is advisable to
perform a sound check and to optimize the input signal levels using proper gain
staging. If distortion is apparent when the performer is singing or playing their
instrument at maximum level, work backwards through the signal chain to find
out where the distortion exists. First check the microphone preamp level. If it is
set to the minimum position and there is distortion, activate the preamplifier pad
switch. If the signal level drops and the distortion goes away, then the microphone
preamp was overloaded. If the level drops but the distortion remains, then the
overload is happening at the microphone input. Set the attenuation switch to
the -10dB position. If the distortion still remains, then either have the performer
lower the level of their instrument or move the microphone further away from the
sound source.

6

Microphone Placement

In order to maximize the quality of the sound you are capturing, you must pay
careful attention to the placement of your MTR201 and how it is positioned for
the instrument or vocalist. The MTR201 is a unidirectional microphone, so it
exhibits a phenomenon known as “proximity effect” which is a resulting change in
the frequency response of a microphone based on the position of the microphone
capsule relative to the sound source. In order to get the best frequency response,
start by pointing the microphone directly on axis with the sound source. You can
change the sound characteristics that the microphone picks up by changing the
position of the microphone. Rotating the microphone away (off-axis) from the
sound source will decrease the sensitivity to higher frequencies. Experimentation
and experience is the best way to find out what sounds best for your recordings.
Below are some tips for when setting up and using your MTR201 in typical ap­plications.

Vocals
Position the microphone directly in
front of the artist so that the micro­phone grille is between 6 and 24
inches away. The closer the vocalist
moves to the microphone, the more
the bass or low response increases.
As the vocalist moves away from
the microphone, the tone becomes
more natural as the low frequency
rolls off. To achieve the fullest
sound, the vocalist should aim the
microphone center line towards their mouth. If some consonants such as ‘P’ and
‘S’ seem to jump up in level, rotate the microphone a little bit away from the art­ist so that sound arrives at the microphone slightly off-center. It is preferable to
prevent these peaks through the use of the MPF1 external pop filter. If recording
a group of singers, ensure that they position themselves around the front of the
microphone close to one another.

Acoustic Guitar
There are a variety of ways that the MTR201 can be used to mike an acoustic
guitar. Optimal microphone placement will depend on the type of instrument, and
what kind of sound you’re looking to capture. It may be necessary to experiment
with various positions to achieve full and balanced tone. When miking a stan­dard steel string acoustic, it is suggested that you begin with the microphone at
a distance of 6–12 inches from the sound hole, positioned slightly off-axis, and
pointing towards the edge of the fingerboard. From this position, moving the mi­crophone towards the sound hole will cause the mic to capture more low frequen­cies. If, instead, you wish to capture more high-end, or to remove any unwanted
booming sound, move the microphone toward the fingerboard. Unlike a steel
string acoustic guitar, the sound of a nylon string acoustic guitar that is played by

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ESPAÑOLITALIANO FRANÇAISDEUTSCHE

MTR201 Studio Condenser Microphone

7

Microphone Placement

finger picking is usually naturally warmer. To record an even, full tone, it is sug­gested that you begin by positioning the microphone 3–6 inches above the center
of the bridge. This will help emphasize the higher frequencies and pick up the
attack sound of the finger picking. If the microphone is picking up too much low
frequency from the sound hole, move the microphone so that it is slightly off-axis
from the guitar. If you have a pair of MTR201 microphones, try one positioned at
the fingerboard and the second over the bridge of the guitar, or have one micro­phone positioned close to the guitar and the second a few feet away to pick up the
sound of the room, blending the two sources together.

Piano
The piano is a very challenging instrument to capture, and there are numerous
microphone techniques that can be used. For close-miking the piano, position
the MTR201 just inside the piano, centered between the soundboard and the
open lid. The closer you move the microphone toward the instrument the more low
frequencies the microphone will pick up. For an ambient recording like that used
in a classical performance, position the microphone outside the piano, facing
into the open lid. For a more contemporary ensemble sound, place two MTR201
microphones in the piano, positioning one over the bass strings and one over the
high strings at a distance of 6–12 inches apart. When miking an upright piano
with a single microphone, position the microphone just above and in front of
the piano with the top open, centered over the instrument. If you have a pair of
MTR201 microphones, position the microphones over the open top of the piano
with one microphone over the bass strings and one over the high strings. You can
also position two mics in front of the kickboard area approximately 8 inches over
the bass and high strings.

Overhead Drum Kit
Thanks to its extended high frequency response and fast transient response, the
MTR201 performs outstandingly when used as an overhead cymbal microphone.
You can position one MTR201 on a boom mic stand directly above the kit point­ing from front to back. For stereo miking, use two MTR201 microphones 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, you can get the entire kit to sound great with just one
overhead. Using overhead mics, it is easier to simply turn up your individual mics
for more attack and thickness in the overall sound.

8

Shockmount

To isolate the MTR201 from external vibrations and prevent unwanted noises that
are transmitted through the stand, the microphone can be fitted on the custom­designed MSM1 spider shockmount. Follow the steps below to install the micro­phone into the shockmount.

• Affix the shockmount onto a micro­phone stand or boom arm. The
shockmount angle can be adjusted
by loosening the thumb screw near
the stand connection.
Note: Do not adjust the angle of
the shockmount without loosening
the thumb screw. If you do this, the
shockmount may be damaged and
you may void your warranty.

• Install the MTR201 into the MSM1
by fitting the microphone into the
center of the web, positioning the
MTR201 onto the bottom mounting
plate with the Samson logo facing
forward.

• Secure the MSM1 by rotating the
threaded collar clockwise until tight.

• Loosen the thumb screw to adjust
the angle of the microphone and
position the MTR201 to the desired
location. Once set, tighten the
thumbscrew 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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ESPAÑOLITALIANO FRANÇAISDEUTSCHE

MTR201 Studio Condenser Microphone

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Pop Filter

Sometimes when recording vocals certain plosive con­sonants (like hard “P” and “B” sounds) overload the
input of the microphone which causes clipping and adds
distortion to your recording. It is advisable to use a pop
filter to reduce the effect of the blasts of air from vocal­ists when pronouncing words that include these hard
consonant sounds. The pop filter also helps to protect
the microphone element from moisture. The MTR201
features a unique design that enables the MPF1 pop
filter to be mounted directly to the microphone.

To attach the MPF1 pop filter to the microphone line up
the pop filter with the groove underneath the grill and
press on until the legs snap onto the microphone body.

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Technical Specifications

180

Transducer Type . . . . . . . . . . . . . . Condenser

Polar Pattern. . . . . . . . . . . . . . . .Cardioid

Frequency Response . . . . . . . . . . . . 20Hz–20kHz

Sensitivity . . . . . . . . . . . . . . . . . -33dB ±3dB (0dB=1V/Pa 1kHz)

Equivalent self noise . . . . . . . . . . . . 13dB

Dynamic Range . . . . . . . . . . . . . . 120dB

Signal-to-noise . . . . . . . . . . . . . . .81dB

Output Impedance . . . . . . . . . . . . . 50Ω ±30% (at 1KHz)

Maximum SPL . . . . . . . . . . . . . . . 132dB

Powering. . . . . . . . . . . . . . . . . .48V phantom power

Connector . . . . . . . . . . . . . . . . . 3-pin, gold plated XLR

Dimensions . . . . . . . . . . . . . . . . ø54mm x 191.7mm

Weight. . . . . . . . . . . . . . . . . . .524g

At Samson, we are continually improving our products, therefore specifications

and images are subject to change without notice.

Polar Pattern

0

45

5
10
15
20
25

dB

45

90 90

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135 135

Frequency Response

dB

10

0

-10

-20

MTR201 Studio Condenser Microphone

ESPAÑOLITALIANO FRANÇAISDEUTSCHE

20000 Hz100005000200010005002001005020

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Introduction

Merci d’avoir choisi le micro à condensateur Samson MTR201. Samson possède
de nombreuses années d'expérience dans la création de micros de la plus grande
qualité pour les enregistrements ou les concerts. La série MTR est notre gamme
de micros la plus avancée, offrant une qualité sonore exceptionnelle et une
conception innovante.

Le MTR201 va rapidement devenir votre meilleur allié du studio, que vous sou­haitiez enregistrer du chant, ou des instruments acoustiques ou électriques. Le
micro est muni d'un diaphragme 1" à pellicule d'or et offre une réponse étendue en
fréquence plate pour assurer une reproduction fidèle et linéaire de votre musique.
Grâce à sa plage de fréquence étendue et à sa capacité à traiter des niveaux sonores
élevés, le MTR201 capture parfaitement les sons, qu'ils soient faibles ou élevés.

Pour une meilleure isolation contre les bruits indésirables, utilisez la suspension
anti-chocs MSM1 incluse. Grâce à la nouvelle conception du micro, il est possible
d'installer le filtre anti-bruit MPF1 directement sur le micro, très facilement.

Dans ce mode d’emploi, vous trouverez une description détaillée des fonctions
du MTR201, les instructions pour sa mise en œuvre, son utilisation, ainsi que
les caractéristiques techniques. Si vous avez acheté votre micro aux USA, vous
trouverez une carte de garantie — remplissez-la et

renvoyez-la pour bénéficier de l’assistance en ligne et pour recevoir les informa­tions sur les produits Samson. Pensez également à consulter notre site Internet
(www.samsontech.com) pour obtenir des informations détaillées sur toute notre
gamme de produits.

Nous vous recommandons de garder les références suivantes pour toute référence
ultérieure ainsi qu'une copie de votre preuve d'achat.

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FRANÇAISDEUTSCHEESPAÑOLITALIANO

Numéro de série: _______________________________________________

Date d'achat: ___________________________________________________

Nom du revendeur: ______________________________________________

Avec un entretien adapté et une ventilation suffisante, votre MTR201 vous donne­ra satisfaction pendant de très nombreuses années. Pour faire réparer votre micro,
vous devez tout d’abord obtenir un numéro de retour auprès de Samson. Sans
ce numéro, l’appareil ne sera pas accepté. Appelez Samson au : 1-800-3SAM­SON (1-800-372-6766) pour obtenir ce numéro avant de renvoyer votre unité.
Conservez, si possible, l’emballage d’origine afin de l’utiliser en cas de retour. Si
vous avez acheté votre MTR201 hors des USA, contactez votre distributeur pour
obtenir les détails sur la garantie et le service après vente.

MTR201 Micro de studio à condensateur

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Caractéristiques

• Micro à condensateur de studio à large diaphragme

• Capsule dorée de 1"

• Reproduction fidèle et transparente

• Polarité hyper-cardioïde

• Alimentation fantôme 48 Volts

• Sélecteur d'atténuation 10dB

• Suspension interne anti-choc

• Réponse en fréquence étendue

• Fabrication en alliage robuste

• Connecteur XLR plaqué-or

Accessoires

• Suspension anti-choc MSM1

• Filtre anti-bruit MPF1

• Malette

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Mise sous tension

Le MTR201 est un micro à condensateur, ce qui implique qu’il nécessite une alimentation
fantôme de 48V. Les préamplificateurs de console de mixage dispose d'une alimentation de
ce type. Une alimentation fantôme externe peut également être utilisée si nécessaire. Le
MTR101 reçoit alors son alimentation par le câble micro équilibré.

Pour maximiser la durée de vie de votre matériel et maintenir de bonnes performances,
veillez à toujours éteindre le Fader principal et l'écran lorsque vous allumez ou éteignez l'ali­mentation fantôme.

Si les performances de votre micro ne sont pas satisfaisantes, cela peut être dû à un pro­blème au niveau de l'alimentation fantôme. Si vous remarquez que votre micro présente une
baisse sortie de signal, des bruits ou une plus petite marge de sécurité (distorsion), cela
peut être dû à un problème au niveau de l'alimentation fantôme ou des câbles du micro.

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Réglage du niveau du signal

Lorsque vous connectez le MTR201 à l’entrée d’une console, utilisez un câble
équilibré et assurez-vous que cette entrée est bien à niveau micro. Veillez égale­ment à ce que l’alimentation fantôme soit activée. La plupart des consoles et des
enregistreurs de qualité sont équipés d’entrée micro avec réglage du gain (généra­lement appelé Trim ou Gain) Ce réglage de gain vous permet d’optimiser le niveau
du signal micro par rapport au bruit de fond induit par l’électronique de la console.
Un bon préamplificateur micro est en outre équipé de témoins d’écrêtage. Pour
obtenir un niveau micro idéal, placez le MTR201 en face de la source à enregistrer
et augmentez progressivement le gain jusqu’à ce que le témoin PEAK s’allume.
Baissez ensuite très légèrement le gain de telle sorte que le témoin reste éteint.
Sur la plupart des consoles, le résultat optimal est obtenu en réglant le gain le plus
haut possible sans que le témoin le témoin PEAK ne s’allume.

FRANÇAISDEUTSCHEESPAÑOLITALIANO

Directivité

La caractéristique essentielle d’un micro est sa directivité. On distingue ainsi trois
catégories :

les micros omni-directionnels, bi-directionnels et uni-directionnels.

Les micros bi-directionnels (figure 8) captent les sons provenant de l’avant et de
l’arrière du micro et atténuent les sons latéraux (gauche, droite)

Les micros uni-directionnels (cardioïdes) ne captent que les sons reçus de face.

Le MTR201 est un micro uni-directionnel qui offre une meilleure séparation des
instruments en studio et permet de faire ressortir ce que vous souhaitez entendre
en fonction de l'acoustique de la pièce. Se référer au chapitre de la page “Mi­crophone Placement” on page 7pour positionner correctement le micro lors
d'activités d'enregistrement différentes.

MTR201 Micro de studio à condensateur

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Sélecteur d'atténuation 10dB

Le MTR201 est muni d'un pad d'atténuation de 10db pouvant être sélectionné
avec l'interrupteur coulissant situé sous la grille, qui sert à prévenir toute sur­charge du préamplificateur intégré en baissant la sensibilité de l'entrée du circuit
du préamplificateur du micro. Si vous faites glisser l'interrupteur vers la gauche
(position 0dB), le contrôle est contourné et il n'y a aucun effet sur le signal. Si
vous faites glisser l'interrupteur vers la droite (position -10dB), la sensibilité
d'entrée du micro baissera de 10dB. Cela est très utile pour enregistrer des sons
rapprochés élevés avec des sons transitoires très élevés tels que ceux émis par des
batteries, des cymbales ou des instruments en cuivre.

Avant de positionner le pad d'atténuation sur -10dB, nous vous recommandons de
vérifier la qualité du son et d'optimiser les niveaux du signal d'entrée grâce à un
gain correct. Si une distorsion apparait lorsque l'artiste chante ou joue d'un instru­ment au volume maximal, vérifiez toute la chaine du signal pour trouver la cause
de la distorsion. Tout d'abord, vérifiez le niveau du préamplificateur du micro.
Si le niveau est au minimum et que la distorsion persiste, activez l'interrupteur
du préamplificateur. Si le niveau du signal chute et que la distorsion disparait,
cela signifie que le préamplificateur du micro était surchargé. Si le niveau chute
et que la distorsion persiste, cela signifie que la surcharge se situe à l'entrée du
micro. Positionnez l'interrupteur d'atténuation sur -10dB. Si la distorsion persiste,
demandez à l'artiste de baisser le son de son instrument ou d'éloigner le micro de
la source sonore.

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