Cloud Microphones Cloudlifter CL-1 Mic A B-Stock
1-Channel Level Amplifier
- +25 dB for dynamic or passive ribbon microphones
- To be used in conjunction with a microphone amplifier with standard phantom power on mixers/preamplifiers/audio interfaces with mic input
- Requires phantom power
- XLR input and output
- Metal casing
- Band for fixing to microphone stand included
-
Available since August 2013
-
Item number 324262
-
Sales Unit 1 piece(s)
-
Channels 1
-
Number of microphone inputs 1
-
Instrument input No
-
Tubes No
-
Compressor/Limiter No
-
Equalizer No
-
De-Esser No
-
Phantom power No
-
Phase Reverse No
-
External effect loops No
-
Analogue Outputs XLR
-
Digitale Outputs None
-
Headphone connection No
-
Level Meter No
-
Design Desktop
Clean inline gain
The CL-1 is a single-channel inline mic activator that sits between a microphone and a preamp, drawing phantom power from downstream and converting it into 25dB of clean gain for the mic signal. Designed for tube, dynamic, and ribbon microphones – the mics that need it most – it boosts output level without colouring the signal or adding noise. The phantom power is actively blocked from reaching the mic, which protects sensitive ribbon and tube mics from potential damage while simultaneously powering the gain circuit. Manufactured in the USA in a solid steel housing, the CL-1 is compact enough to disappear into any signal chain – and rugged enough for studio, stage, and touring use alike.
)
How it works
The CL-1 requires 48V phantom power from the downstream preamp or interface – no batteries, no external PSU. That phantom power never reaches the connected microphone, making the CL-1 safe for ribbon and tube mics by design. Dynamic and ribbon mics with low output – the Shure SM7B, SM57, SM58, Sennheiser MD421, and Electrovoice RE-20 among them – all benefit from the 25dB boost, which brings their signal up to a level where the preamp's gain structure can do its job cleanly. The CL-1 presents a fixed 3kOhm impedance load, optimised for a wide range of passive mics. Condenser mics, which require their own phantom power to operate, need a separate 48V source if used with the CL-1.
)
Who it's for
The CL-1 suits home studio users, podcasters, and working engineers who run dynamic or ribbon mics into interfaces or preamps that don't have enough clean gain on their own. A modest audio interface paired with an SM7B is the typical scenario – the CL-1 closes the gap without adding noise or requiring an expensive high-gain preamp. The locking XLR connectors on both input and output prevent accidental disconnection, and a rear welded bracket allows users to mount the CL-1 to a mic stand with a clamp or the included hook-and-loop fastener. Four rubber feet ensure stable placement on a desk or rack shelf.
)
About Cloud Microphones
US manufacturer Cloud Microphones has been developing and manufacturing microphones and microphone preamps since 2009. Company founder Stephen Sank draws on a family tradition in microphone design that now spans three generations. The range includes ribbon microphones that follow in the tradition of classic RCA models, while combining this heritage with modern design and the company's own patented technologies. Alongside these sits the Cloudlifter line of preamp units. Designed as inline devices, they use the phantom power available at microphone inputs to provide clean, noise‑free signal gain for dynamic and ribbon microphones, without adding unwanted tonal colour. Cloud Microphones has built its reputation not only on the exceptional robustness of its devices, but also on the fact that all components are manufactured in the United States.
For everything from podcasts to Bluegrass
Beyond vocal work, the CL-1 comes into its own anywhere a quiet source places high demands on mic gain – banjos, mandolins, acoustic guitars, woodwinds, and subtle percussion all benefit from clean amplification at the mic rather than pushing the preamp hard. In live and touring contexts, the steel housing and locking connectors hold up to regular handling. A single CL-1 between a ribbon mic and a console input can make the difference between a usable track and a noisy one – without changing the character of the microphone or the signal chain around it.
