RODE Microphones NT1-A Manual
NT1-A
Instruction Guide
STUDIO CONDENSER MICROPHONES
Serial Number: ........................................................
Checked By: ............................................................
Date: ........................................................................
This condenser microphone has been proudly
designed and manufactured by RODE Microphones
in Sydney, Australia.
We at RO DE thank you for investing in our product,
and with the appropriate care, it will serve you well
for many years to come.
Please take the time to read the following
information which will help you to achieve the best
possible performance from your NT1-A.
NT1-A
Technical Specification:
•Acoustic Principle: Externally polarised 25 mm
(1”) condenser.
•Active Electronics: JFET impedance converter
with bipolar output buffer.
•Pickup Pattern: Cardioid (see graph).
•Frequency Response: 20 Hz~20 kHz (see graph).
•Output Impedance: 100 Ω
•Sensitivity: -31.9 dB re 1volt/pascal
25 mV @ 94dB SPL) +/- 2 dB
•Equivalent Noise:
5 dBA SPL (per IEC651, IEC268-15)
•Maximum Output: +13.7dBu (@ 1% THD into 1kΩ)
•Dynamic Range:>132 dB (per IEC651, IEC268-15)
•Maximum SPL: 137 dB (@ 1% THD into 1kΩ)
•Signal/Noise: > 88 dB (1kHz rel 1 Pa;
per IEC651, IEC268-15)
•Power Requirements: Phantom P48, P24
NT1-A Polar Response
NT1-A Frequency Response
Features:
•Large Capsule (1”) with gold-plated membrane.
•Cardioid Polar Pattern.
•Ultra-low noise transformerless circuitry.
•New, state of the art surface mount electronics.
•New, heavy duty satin nickel finish.
•Monocoque sub-assembly.
•Internal shock-mounting system.
•Gold plated output connectors.
•True Condenser (externally biased).
•Full (20Hz – 20 kHz) frequency response.
Accessories:
NT1-A Base
Note: Ensure cable is connected to correct pins.
Cable plug guide
Pin 1 (Ground)
Pin 2 (+)
Pin 3 (-)
ZP1 Zip Pouch
3/8” - 5/8”
Thread Adaptor
SM1 Shock Mount
NT1-A in SM1 Shock Mount
3/8” - 5/8” Thread Adaptor
The Power Supply:
1. Connect all cables before applying power
to the microphone and never remove
the microphone cable while the power
is connected.
2. The NT1-A requires P48Volts or P24Volts
Phantom Power.
3. If the Mixer or Pre-amp does NOT contain
this Phantom Power requirement, then
an external Phantom Power supply will
be needed.
4. Some Phantom Power supplies do not
supply the voltage at which they are rated.
If the required voltage is NOT supplied,
the dynamic range and general
performance of the microphone will be
reduced. This can easily be confirmed by
a qualified technician.
5. We strongly suggest the use of a reputable
high quality power supply. Damage to the
NT1-A caused by a faulty power supply is
not covered by the warranty.
Microphone Placement:
Microphone technique, or how to get the
sound you want, requires experimentation.
We suggest that you start with the channel EQ
set to ‘OFF’ or ‘FLAT’ (no boost or cut). Try to
get the sound you want by placing either
reflective or absorbent panels at various
angles adjacent to the source being recorded.
Changing the acoustic properties of the space the
microphone is in, is our recommended initial
approach for obtaining the best sound quality.
(Remember, you cannot change a rooms acoustic
properties with EQ).
When the preferred sound has been achieved (as
above) then, EQ and effects such as reverb or
indeed any other signal processing can be used for
enhancement, but should be used sparingly.
It is perhaps worth mentioning, that sometimes
‘cutting’ a particular frequency (sound) may be
preferable to boosting another. Of course,
‘boosting’ can increase noise level, and so should
be done minimally. As with many other aspects of
the recording process, finding the preferred ‘sound’
is again, a matter of experimentation.
Vocals:
We strongly suggest the use of a ‘pop-filter’ for ALL
vocal recording.
Plosives (‘P’s, ‘B’s and ‘C’s) can produce a sudden
jet of air which can cause the capsule to ‘bottom
out’ (overload) and produce a ‘popping’ sound.
Pop filters help to prevent the effects of plosives.
Moisture on the capsule can cause problems for
condenser microphones but the use of a pop filter
reduces that risk.
Placement of the microphone and pop filter relative
to the vocalist may be varied depending on several
factors. These can include the acoustics of the
room, the type of vocal performance, and whether
the vocalist has a deep or high voice.
Perhaps a good beginning would be to place the
pop filter directly in front of the vocalist, and about
15cm away from the microphone. (Remember that
the front of the microphone is indicated by the gold
dot). This will assist in keeping the performer at a
constant minimum distance from the microphone
and helps to maintain reasonable recording levels.
Experimentation should be made with the angle
from which the microphone is addressed as
different results can be achieved when the vocalist
is ‘off-axis’. (Note: ON axis = addressing the
microphone directly towards the gold dot).
Electric Guitar/Bass:
To mic-up a Guitar or Bass Amplifier (as opposed
to Direct Injection of that instrument) a microphone
may be placed close to the loudspeaker of
the amplifer, directed slightly to the side (off axis)
of the speaker.
Note:
In the absence of a Pad, it may be necessary to
move the microphone further from the speaker to
avoid distortion when loud volume is used.
Piano:
To record a piano using a single microphone (see
above), that microphone should be placed
approximately 60cm (or 2’) above the centre of the
sound-board, aimed slightly towards the front of
the piano.
To record the piano using X/Y Stereo technique,
two closely matched (similar) microphones should
be angled at 90-110degrees to each other, over the
hammers with ONE mic aimed towards the lower
strings, and the other towards the high strings.
The gold dots should be directed down, towards
the piano.
An effective stereo image can be achieved, with
lower frequencies being recorded on the left, and
the higher frequencies on the right.
Drums:
There are various ways to record drum kits.
Single microphone ‘overhead’, two microphones
overhead (eg X/Y or spaced pair), multiple
microphones used close to individual drums and
cymbals (ie. Close mic-ing).
NT1-A
facing down
towards
drum kit
Single
microphone
technique
Multiple microphones used close to
individual drums & symbols
(ie. Close mic-ing):
To record a kit with a single microphone, we
suggest that you begin by placing the mic’ above
the centre of the kit at the same height as the kit is
wide with the front of the microphone facing down.
To record the kit with TWO overhead microphones,
they should be used at a similar height (as above)
and depending on the size of the kit, between
1-2m apart. The mic’s would would probably be
equi-distant from the snare drum.
To record a kit using the X/Y stereo technique, two
closely matched (similar) microphones should be
placed (as above in the single microphone position)
with the front of each microphone pointing down,
and each at 90-110 degrees to each other.
Acoustic Guitar:
A common (single) microphone position when
recording acoustic guitar, is between 20 and 30cm
away from the front of the instrument where the
neck and body meet. Adjust the distance and
position to ‘finely’ tune the desired response. This
desired response will depend on the instrument,
the style of playing, and the sound aspired to.
An alternative popular technique is to use ‘smaller’
capsule microphones (eg. RODE NT 3 3/4” capsule,
or RODE NT 5 1/2” capsule) closer to the guitar,
AND a large capsule microphone such as the NT1-A
further away from the instrument (perhaps 1m +/-).
The sounds recorded by each microphone can then
be mixed as preferred.
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