Cloud Microphones Cloudlifter CL-1

Product Information

Cloudlifter CL-1 Mic Activator is an easy to use, compact solution for common audio problems faced in the field and in the studio. Designed for all passive microphones including ribbons- the CL-1 safely uses any standard phantom powered microphone input device to provide up to +25db of ultra-clean, transparent gain. Using patent pending technology that keeps the direct audio path free-and-clear of transformers, capacitors, and resistors, the CL-1 houses direct-coupled, discrete JFET circuitry that delivers world class, ultra-clean gain while preserving the natural sonic characteristics of the source. The Cloudlifter CL-1 was created with ribbon mics in mind. Its phantom-powered circuit provides more than enough gain and proper impedance loading for ribbons, allowing them to sound their best even when connected to an underpowered preamp. If you own a ribbon mic, the CL-1 is an essential companion. Compatible With All Your Gear

I don’t understand the point of the cloudlifter if the level achieved has the same amount of preamp noise on both. Cloudlifters dramatically improve the performance of passive microphone signals by driving stronger, cleaner signals over longer XLR cable runs, making them ideal for broadcast, live, and studio applications. Enclosed in a rugged steel enclosure offering excellent shielding, the CL-1 additionally has provisions for stage or stand mounting with the included strap. Then again, if making wise financial decisions was my forte, I probably wouldn’t be a musician in the first place. Of course, the other application for the CL-1 is to use low-output mics with long cable runs. If you have problems with radio interference from long cables to your ribbon mics, then the CL-1 would probably help you. Cloudlifters are recommended for improving the signal to noise ratio and performance of passive microphone/preamp combinations with the following:You should get an instant answer on whether your application has been successful, though in some rare cases Klarna or V12 may need to look at the application in more detail. As I said, “affordable” mic preamps won’t provide acceptable results. You need a high-end preamp or something with a “ribbon mic mode” like the Millenia HV-35P. They sound pristine, and even at 80dB of gain you’ll have ample headroom with little noise. It also features a dedicated buffer amp to give you a consistent +28 dB gain boost regardless of the connected load. Moreover, it does a great job at rejecting RF and electrical interference, which makes it desirable for on-location use. Verdict Last year I reviewed the original Cloudlifter, which I described as an “inline mic pre-preamp” intended to give passive ribbon microphones a 20dB boost of clean gain. The manufacturer, Cloud Microphones from Tucson, AZ, has since updated the design and dropped the price. Despite having a name that is reminiscent of an energy drink, McBoost delivers a robust boost with impeccable presentation. It boosts any low-level microphone you hurl at it. The price tag may pinch a bit, but it’s what you pay for the highest possible standard and most stable in-line boost.

Armed with active FETs and/or bipolar junction transistors (BJTs), mic activators act as an extension of the preamp on an interface/mixer and draw phantom power from it. Based on the preamp’s input impedance, they provide a gain boost ranging from 20 to 27dB. Accessory Coverage: Any peripheral devices or accessories that come with your product (i.e. foot pedal, case) are also covered. I’ll presume this question comes from a podcasting point of view. The SM7B is a staple in most podcasting setups. You’ll often hear that the SM7B does fine without a mic booster, but in my experience, it is tremendously gain hungry and needs some legwork to get a decent signal level. Performance-wise, it can add up to 27 dB of clean gain to low-impedance signals. FET-based designs have a reputation for sounding remarkably clean. The FetHead too has no issues with noise, assuming that the signal has clean gain at the primary level from the preamp.While you can argue the need for it in the studio, there is no doubt that the output impedance of 220 Ohms outperforms the Cloudlifter’s 3 k output by a significant margin. Verdict

Now we know a bit more about the products and have analyzed how they work in a variety of tests, what have we learned? Well, the noise floor on the FetHead is higher than that of the Cloudlifter, however, that is to be expected as the FetHead provides a higher boost overall. Prior to recording, I gain-matched the two channels to within 0.1dB. Needless to say, the CL-1 channel needed ~20dB less gain. With up to 25dB of gain on tap, the Cloudlifter CL-1 eliminates the need to push your preamp to noisy levels. Its discrete JFET design adds gain without adding noise or distortion, allowing even budget preamps to sound high-end. Long cable runs won't sap your signal, either, thanks to the CL-1's line-driving output stage. Ribbon Mic Ready I just got my new CL-1 a couple of weeks ago, and I’ve been using it with a SHURE SM57 on some of my voiceover projects.The McBoost is particularly suited to people with advanced setups or anyone who wants a multi-faceted alternative to a Cloudlifter. 4. Cathedral Pipes Durham MKII I’ve spent a fat minute researching the inline preamps recently to find the best mic booster for my podcasting setup. I settled for the Cloudlifter CL-Z even though I would have done fine with a FetHead. If you are interested in receiving this coverage for longer than one year, you have the option of purchasing additional years of the Performance Warranty. The pricing is as follows: I’ve had the good fortune to play with the new single-channel Cloudlifter CL-1 since January. In fact, I used it extensively in my recent podcast microphone shootout, because it let me run my DAW inputs comfortably in the middle of their gain range, leaving plenty of headroom for matching gain across microphones.

One of the findings from my first review is that the Cloudlifter delivers at least 20dB of gain as clean or cleaner than any of my preamps. I retested this conclusion in a new way with the CL-1: I ran one microphone through a splitter into two inputs in my DAW, with the CL-1 inline in just one of those inputs. The Triton Audio FetHead is an economical, portable, and easy to use alternative to a Cloudlifter. It does exactly as advertised, and it does that as well, if not better, than the competition at a significantly lower price point. I highly recommend it to anyone who doesn’t want to pay extra for bells and whistles and just needs to cleanly boost their mic signal. At this point, we have tested the current CL units in the worst environments & with the most interference-sensitive mics(plastic body Beyer M320 being a great one for that), and I do feel that I’ve made the CL circuit as immune to environmental interference as any low level audio device can be made to be. Even the earliest CloudLifter units do have RF suppression. It just wasn’t “aggressive” enough for the worst case mics & environments. It inevitably takes time to find out just how much worse user conditions can be than what a designer like me originally anticipates.This has been our head to head for the two most popular products in the mic activation market. As you can tell, there are pros and cons to both devices. If you can handle a little extra noise in your recordings then the FetHead is the obvious choice, with its ultra-transparent high gain signal boost. If you are less concerned about coloration and are looking for a product that can prescribe gain based on what your mic needs, then the CL-1 is the activator for you. But how do these two mic activators hold up in practical application? Well, we have run some tests to determine the noise floor and frequency response of each device. The problem is they aren’t very affordable, but Cloudlifters certainly are. Plus, it’s safe to use ribbon mics with a Cloudlifter, even sensitive vintage mics. While using phantom power with ribbon mics is a big no-no (it can destroy them), a Cloudlifter won’t pass on the phantom power to the mic input. The original Cloudlifter was a 2-channel device. The new version of that model is now called the CL-2. As noted above, there is a new single-channel version too, called the CL-1. Recording studios often use long cables to allow for the flexible positioning of artists. The problem with long cables is that they are more prone to noise and interference. So even with studio-quality preamps, there will still be too much noise in the signal. Once again, a Cloudlifter can really help bring the noise floor down to a professional standard. 4. Mismatched Gear