The amp wasn’t all that loud, and the noise would not have been a problem under normal circumstances, but since I had the CL-1, I figured I’d see how well it worked.

Powered by phantom power from your interface, mixer, or preamp, the CL-1 will clean up phantom power to boost even the most sensitive ribbon microphones, letting you get the very most of them without risking causing any damage to them.If the two tracks were truly identical, the waveforms (equal in amplitude but opposite in direction) would cancel out completely, resulting in silence. I do wonder if that disparity is by design to emphasis the clartity of the gain in the right PAD mode? Phantom-powered JFET circuitry allows for an extra jump in quiet output volume before the mic preamp.

If it were colored like the 1073, then you might find use for the Cloudlifter if you were hearing too much preamp coloration in your ribbon/dynamic tracks.I purchased my Shure SM7B from sweetwater thinking I wouldn't need this cloud lifter and oh boy i was wrong, if you purchase the SM7B like i did go ahead and add this little bad boy to your list cause your going to need it. Considering how great the Z knob is, the lower boost setting actually allows this box to be used in even more situations, like a ribbon mic on a loud guitar amp. The main feature of the CL-Z is a great big "Z" knob that lets you adjust its input impedance from 150 Ω up to 15 kΩ — that's like night and day — and everything in between. I do a lot of on location recording of Classical music in the Chicago area and thanks to the CL-2 I’ve rediscovered the joy of using ribbons for spot mics. Is there a difference between the initial release of the “CL-1” and those that came later or are all the same.