RODE Microphones NT1-A Manuale

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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