Samson MTR201 User manual

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR201 Studio Condenser Microphone 3
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 captur-
ing 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 Authoriza-
tion (RA) number must be obtained before shipping the microphone to Sam-
son. 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.

4
Accessories
• MSM1 shockmount
• MPF1 Pop filter
• Carry Case
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

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MTR201 Studio Condenser Microphone 5
Powering
Setting the Microphone Level
The MTR201 is a condenser microphone and therefore requires 48V phantom
power. Phantom power is provided by a mixer’s preamplifier channel or if neces-
sary, an external phantom power supply and sent to the microphone along a bal-
anced 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 phan-
tom 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.
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.
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 micro-
phone 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.
Polar Pattern

6
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 posi-
tion) the input sensitivity of the microphone will be lowered by 10dB. This is use-
ful 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.

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MTR201 Studio Condenser Microphone 7
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 ap-
plications.
Vocals
Position the microphone directly in
front of the artist so that the micro-
phone 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 art-
ist 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 stan-
dard 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 mi-
crophone towards the sound hole will cause the mic to capture more low frequen-
cies. 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
Microphone Placement

8
Microphone Placement
finger picking is usually naturally warmer. To record an even, full tone, it is sug-
gested 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 micro-
phone 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 point-
ing 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.

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR201 Studio Condenser Microphone 9
To isolate the MTR201 from external vibrations and prevent unwanted noises that
are transmitted through the stand, the microphone can be fitted on the custom-
designed MSM1 spider shockmount. Follow the steps below to install the micro-
phone into the shockmount.
• Affix the shockmount onto a micro-
phone 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 micro-
phone in place.
Note: Be careful not to cross-thread
or over-tighten the threaded collar or
thumb screw.
Shockmount

10
Pop Filter
Sometimes when recording vocals certain plosive con-
sonants (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 vocal-
ists 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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MTR201 Studio Condenser Microphone 11
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.
Technical Specifications
dB
10
0
-10
-20
20000 Hz100005000200010005002001005020
5
10
15
20
dB
25
45 45
9090
135 135
180
0
Frequency Response
Polar Pattern