Samson MTR231 User manual

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR231 Multi-Pattern Studio Condenser Microphone 3
Introduction
Thank you for purchasing the Samson MTR231 multi-pattern 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 MTR231 will quickly become your favorite tool in the studio, whether cap-
turing vocals, acoustic or electric instruments. The microphone features a dual
1” gold sputtered diaphragm with three selectable polar patterns, 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 MTR231 excels at picking up everything from very soft, to loud thunderous
sounds.
For additional isolation from unwanted noises, the microphone includes 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. A carry
case is included for transportation and storage of the microphone. It is recom-
mended keep the microphone in the case when not being used.
In these pages, you’ll find a detailed description of the features of the MTR231,
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 MTR231 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 MTR231 was purchased outside of the United States,
contact your local distributor for warranty details and service information.

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Accessories
• MSM1 shockmount
• MPF1 Pop filter
• Carry case
Features
• Large diaphragm multi-pattern studio condenser
• Dual 1” gold-sputtered capsule
• Smooth and transparent sound reproduction
• Selectable pick-up pattern: Omnidirectional, Cardioid,
Figure-8
• 48 volt phantom power operation
• 10dB attenuation pad
• Internal capsule shock mounting
• Extended smooth frequency response
• Durable die cast construction
• Gold-plated XLR connector

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR231 Multi-Pattern Studio Condenser Microphone 5
Powering
Setting the Microphone Level
The MTR231 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 MTR231 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 MTR231 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.

6
An important characteristic of any microphone is its directionality or polar pattern.
The MTR231 features a dual-membrane capsule allowing for a choice of three
individual polar patterns: omnidirectional, unidirectional (cardioid), and bidirec-
tional (figure-8). The microphone pattern can be selected using the three-position
slide switch below the right side of the grill. Each pattern has distinct pick-up
characteristics with respect to the sensitivity and frequency response to sounds
arriving from different directions. The following section discusses some of the
features of each pattern, to help you choose the best setting for you application.
Omnidirectional - The omnidirectional setting reproduces sound from all directions,
(including off-axis), with an even frequency response, which makes it resistant to
the phenomenon know as proximity effect. It captures a greater amount of ambi-
ent sound than the other settings, and thus will include more of the room sound
than when using a directional setting. The omnidirectional setting is great for
recording ensemble performances including group vocals, brass, woodwind, and
other instruments with the artists facing each other in a circle around the mi-
crophone. To select the omnidirectional pickup pattern, set the pattern selection
switch to the left position, indicated by the circle icon.
Unidirectional (cardioid) - The cardioid pickup pattern is the most widely used for
studio and live miking applications. It captures sound in front of the microphone
and rejects sound from the sides and back, 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. The separation also allows for more control and more
gain before feedback in live sound reinforcement situations. To select the cardioid
pickup pattern, set the pattern selection switch to the center position, indicated
by the “heart-shaped” icon.
Bidirectional (figure-8) - This setting captures sound directly in front and back of
the microphone while rejecting sound on the left and right sides, and has minimal
off-axis frequency response deterioration. It is very useful in a variety of stereo mi-
crophone techniques. The figure-8 pattern can be used to simultaneously capture
two instruments or vocalists by positioning the microphone directly between them,
so one is addressing the front of the microphone and the other the rear. To select
the figure-8 pickup pattern, set the pattern selection switch to the right position,
indicated by the “8” icon.
See the section on “Microphone Placement” on page 8 and the section on
“Stereo Microphone Techniques” on page 10 for some considerations when
placing the microphone in different recording applications.
Polar Pattern

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR231 Multi-Pattern Studio Condenser Microphone 7
10dB Attenuation Pad
The MTR231 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.

8
In order to maximize the quality of the sound you are capturing, you must pay
careful attention to the placement of your MTR231 and how it is positioned for
the instrument or vocalist. When the MTR231 is set to the cardioid polar pattern,
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 micro-
phone 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 chang-
ing the position of the microphone. Rotating the microphone away (off-axis) from
the sound source will decrease the sensitivity to higher frequencies. Experimenta-
tion and experience is the best way to find out what sounds best for your record-
ings. Below are some tips for when setting up and using your MTR231 in typical
applications.
Vocals
With the microphone pattern switch
set to the cardioid position, place
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 micro-
phone close to one another.
Acoustic Guitar
There are a variety of ways that the MTR231 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

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR231 Multi-Pattern Studio Condenser Microphone 9
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 MTR231 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 MTR231 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 MTR231
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
MTR231 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
MTR231 performs outstandingly when used as an overhead cymbal microphone.
You can position one MTR231 on a boom mic stand directly above the kit point-
ing from front to back. For stereo miking, use two MTR231 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.

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Stereo Microphone Techniques
The term “stereo” will be used here to describe different microphone techniques
using multiple channels of audio to create a reproduction of the sound stage over
a pair of loudspeakers. There are many approaches that can be used with two or
more microphones, but we will focus on three methods: spaced microphones, X/Y
coincident pairs and Mid-Side (MS).
Spaced Microphones - This technique utilizes two microphone placed 2-10 feet
apart (sometimes a third microphone is used in the center). Traditionally, engi-
neers have chosen omnidirectional microphones for this method which have a flat
polar and frequency response, but include more of the reverberant sound of the
room compared to the direct signal. This approach works well for smaller perfor-
mance groups, such as chamber music, where specific imaging of instruments on
the stereo plane is not crucial. The closer the two microphone are arranged, the
wider the stereo image appears. The figure-8 pattern can be used for this tech-
nique but in this case, the microphones need to be angled in the direction of the
sound source. Cardioid microphones are usually avoided due to the degradation of
its off-axis frequency response.
X/Y Coincident Pairs - This technique uses two cardioid microphones placed as
close as possible together with a splayed angle of 90°-135°. The closer the angle
between the microphones is to 90°, the more narrow, or mono, the soundstage
will appear. Since cardioid pickup patterns tend not to reproduce signals off-axis,
the result is a drier, more direct sound recording. A variation of the X/Y pairs,
is the Blumlein configuration which utilizes two crossed figure-8 patterns. This
technique can also be used as a variation to the Mid-Side method below. Using
this approach produces a more natural sound, because the polar and off-axis
frequency response is much better than the cardioid pattern, it captures more of
the room’s reverberant sound. The disadvantage using two figure-8 microphones
is that they will pick up sounds coming from behind the microphones, which may
not be desirable.
Mid-Side (MS) - The MS configuration might be the most versatile and power-
ful technique of the three discussed. This arrangement typically uses a forward
facing cardioid microphone for the “mid” portion, which is recorded equally to
the left and right channels, and a side facing figure-8 microphone for the “side”
component which is recorded to the left and right channel (with one of the chan-
nel’s polarity reversed). The MS method has the best stereo-to-mono compatibility,
because when the two channels are summed to mono, the side microphone is
completely cancelled. The width of the stereo field can be made wider or more
narrow by adjusting the level of the “side” component relative to the “mid” com-
ponent.

ENGLISHESPAÑOLITALIANO FRANÇAISDEUTSCHE
MTR231 Multi-Pattern Studio Condenser Microphone 11
To isolate the MTR231 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 MTR231 into the MSM1
by fitting the microphone into the
center of the web, positioning the
MTR231 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 MTR231 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

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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 MTR231
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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MTR231 Multi-Pattern Studio Condenser Microphone 13
Transducer Type . . . . . . . . Condenser
Polar Pattern. . . . . . . . . .Omnidirectional, cardioid, figure-8
Frequency Response . . . . . . 20Hz–20kHz
Sensitivity . . . . . . . . . . . Omnidirectional: -39dB±3dB (0dB=1V/Pa 2kHz)
Cardioid: -37dB±3dB (0dB=1V/Pa 1kHz)
Figure-8: -33dB±3dB (0dB=1V/Pa 1kHz)
Equivalent self noise . . . . . . 16dB
Dynamic Range . . . . . . . . 118dB
Signal-to-noise . . . . . . . . .78dB
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. . . . . . . . . . . . .552g
At Samson, we are continually improving our products, therefore specifications
and images are subject to change without notice.
Technical Specifications

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Frequency Response
Frequency Response
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Figure-8
Technical Specifications