Audio-Technicas as well as tried-and-true SM58’s really opened up nicely – it was great to hear an added level of clarity to mics we thought we were familiar with.Īll in all, the Cloudlifter might seem like a gimmick if you haven’t actually tried one yet, but it really helps get a decent tone right from the start even from cheaper gear, and will help tame any audio fuzziness or hazy frequencies that would normally “get fixed in the mix”. It worked well as a DI with acoustic piezo pickups, bass guitar, and pretty much every mic we put through it. ![]() It’s like a nice audio spice, just keep adding a bit until you’re satisfied. The frequency range is very full overall, and dialing in that little “extra” that makes a big difference during a session was really easy. Sound wise, it was really musical – that’s the word that we kept circling back to. With mics that didn’t need phantom power, we placed it after the mic, before the DAW. So, during our testing we placed it in between a mic pre, and the DAW, to compensate for mics that needed phantom power and had no issues. Now it does require phantom power, however it does NOT provide phantom power to mics. ![]() In other words, it lets the preamp do its job and handle the natural sound of your microphone without adding in its own noise to the signal. The idea is the Cloudlifter Zi provides additional clean gain and tone shaping for microphones. Like a DI, place it between an instrument or microphone and the recording device. With ribbon mics, it can also start to tame any proximity effect. It can help cut out any boominess on an acoustic guitar. When it’s on, the impedance control interacts with this in a nice, musical way. The hi-pass filter is continuously variable. This helps bump up the overall signal, especially on instruments with passive pickups. ![]() There are only two switches, the first being the 3-position variable gain control, with Minimum, More and Maximum settings.
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