RODE Microphones NT1-A Manual de usuario

(EMC, LVD)

NT1-A

Instruction Manual

www.rodemic.com

- 2 -

Introduction

On behalf of the entire team at I’d like to

personally thank you for investing in the NT1-A

studio condenser microphone.

We’re proud to say that the NT1-A has become an

industry standard - providing the warmth, extended

dynamic range, clarity and high SPL capability

usually only featured by some of the most expensive

microphones.

We’ve titled this the ‘Complete Vocal Recording

Solution’ as we’ve included everything you need to

get truly professional vocal recordings - the world’s

quietest studio microphone, a studio grade popshield

and shock mount, premium cable, dust cover and of

course ’s industry leading ten year warranty.

The NT1-A is an exceptional vocal microphone, but I’m

pleased to say that you will ﬁnd it an equally capable

microphone for almost any recording application

including acoustic and electric instruments and

percussion.

Please take the time to visit www.rodemic.com and

While there you can view studio tips and techniques, as

well as browse the comprehensive range of accessories

for the NT1-A and other microphones.

Peter Freedman

Microphones

Sydney, Australia

- 3 -

Speciﬁcations

Acoustic

Principle:

Externally polarised 25mm (1”)

condenser

Active

Electronics:

JFET impedance converter with

bipolar output buffer

Directional

Pattern:

Cardioid

(see graph)

Frequency

Range:

20Hz ~ 20,000Hz

(see graph)

Output

Impedence:

100Ω

Sensitivity: -31.9dB re 1V/Pa @ 1kHz

(25mV/Pa @ 94dB SPL)

±2dB @ 1kHz

Equivalent Noise: 5dBA SPL

(per IEC651)

Maximum

Output:

+13 .7d Bu

(@ 1kHz, 1% THD into 1kΩ)

Dynamic Range: >132dB (per IEC 6 51)

Maximum SPL: 137dB

(@ 1kHz, 1% THD into 1kΩ)

Signal/Noise: 88dB SPL

(@ 1kHz, rel 1Pa per IEC651)

Power

Requirement:

Phantom P48, P24

Output

Connection:

3-pin XLR

Net Weight: 326g

- 4 -

Speciﬁcations

Frequency Response

Polar Response

Accessories

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SM6 shock mount

(including studio

grade pop shield)

Premium XLR cable Microphone sleeve/

dust cover

- 5 -

Features

• Large capsule (1”) with gold-plated membrane

• Cardioid polar pattern

• Ultra-low noise transformerless circuitry

• New, state-of-the-art surface mount electronics

• Heavy-duty satin nickel ﬁnish

• Monocoque sub-assembly

• Internal shock mounting system

• Gold plated output connectors

• Designed & manufactured in Australia

• Full 10 year guarantee*

Supplying Power

• Connect all cables before applying power to the

microphone and never remove the microphone

cable while the power is connected.

• The NT1-A requires P48 volts or P24 volts phantom

power.

• If the mixer or preamp does not contain this

phantom power requirement, then an external

phantom power supply is needed.

• 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.

• We strongly suggest the use of a reputable high

quality power supply. Damage caused by a faulty

power supply is not covered by the warranty.

*Online product registration required.

- 6 -

• The gold dot on the face of the

NT1-A indicates the front of the

microphone, and the pick-up area

of the cardioid pattern. Please be

sure to have the side with the dot

facing the sound source you wish to

record.

• 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

around the microphone is our recommended initial

approach for obtaining best sound quality.

Remember you cannot change a room’s acoustic

properties with EQ.

When the preferred sound has been achieved

(as above) then EQ and effects such as reverb

or indeed any signal processing can be used for

enhancement, but should be used sparingly.

• It is 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 a matter of

experimentation.

Microphone Placement

- 7 -

Recording vocals

• We strongly recommend using the suppled

popshield attachment for all vocal recording. This

aids in minimising plosive sounds (hard ‘P’, ‘B’,

‘T’ and ‘K’ sounds) that produce a sudden jet of

air which can cause the capsule to overload and

produce a ‘popping’ sound.

• Any moisture on the microphone capsule can

cause problems for condenser microphones,

however the use of the pop shield will reduce the

risk of this occurring.

• Placement of the microphone and pop shield

relative to the vocalist may be varied on several

factors including room acoustics, the vocal

performance, and whether the vocalist has a high

or deep voice.

• An ideal reference is to begin with the pop shield

directly in front of the vocalist, and approximately

15cm (6”) away from the microphone. 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’ to the microphone (and the gold dot).

- 8 -

Recording electric guitar/bass

• To mic up a guitar or bass ampliﬁer (as opposed to

direct input of that instrument) a microphone may

be placed close to the loudspeaker of the ampliﬁer,

directed slightly to the side (off-axis) of the speaker.

• 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.

Recording piano

• To record a piano using a single microphone

you should place the mic approximately 60cm

(2’) above the centre of the sound board, aimed

slightly towards the front of the piano.

• To record a piano using a matched pair of

NT1-As using X/Y stereo technique, the matched

microphone should be angled 90 - 110 degrees

to each other, over the hammers with one mic

aimed towards the lower strings and the other to

the higher strings. The gold dots should face the

piano.

An effective stereo image can be achieved, with

lower frequencies being recorded on the left, and

higher frequencies on the right.

- 9 -

Recording acoustic guitar

• A common (single) microphone position when

recording acoustic guitar is between 20 and 30

centimetres 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 will depend on the instrument, style

of playing, and the desired sound.

• An alternative technique is to combine a small

capsule microphone (like the NT5 or NT55) close

to the guitar, with a large capsule microphone like

the NT1-A at a distance of around a metre. The

individually captured sounds recorded by each

microphone can then be mixed as desired.

- 10 -

Recording drums

• There are various ways to record drum kits. Single

mics ‘overhead’, multiple mics (X/Y or spaced pair)

or multiple mics close to individual drums and

cymbals (‘close miking’).

• To record a kit using a single microphone we

suggest that you begin by placing the mic above

the direct centre of the kit at the same height as

the kit is wide (see below), with the front of the

microphone (gold dot) facing down.

• To record a kit using two overhead microphones

they should be placed at a similar height to the

single technique and, depending on the kit size,

approximately 1-2m (3-6’) apart. The mics should

generally be equi-distant from the snare drum.

• To record a kit using a matched pair of

microphones in X/Y stereo technique, the

microphones should be placed in the location of

the single mic technique, with the front of each

microphone (gold dot) pointing down and at an

angle of 90 - 110 degrees to each other.

Drum kit width = x

Ideal mic position

Ideal mic height = x

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