RODE Microphones NT4 Manuale utente

(EMC, LVD)

NT4

Instruction Manual

www.rodemic.com

- 2 -

Introduction

Thank you for investing in the NT4 stereo condenser

microphone.

The NT4 solves the age-old problem of stereo

recording by eliminating the need to purchase matched

pairs and the associated complex set-up bars and

adaptors to get professional results. With a ﬁxed 90

Degree X/Y conﬁguration and perfectly matched stereo

condenser capsules, the NT4 lets you record any source

with immaculate stereo detail.

The NT4 has a 128 dB dynamic range, 143 dBA SPL and

low self-noise. Offering selectable battery or phantom

power operation with power indicator light, the NT4 is

ideally suited to both studio and location recording.

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

While there you can view recording tips and techniques,

as well as browse the comprehensive range of

accessories for microphones.

Peter Freedman

Microphones

Sydney, Australia

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Speciﬁcations

Acoustic

Principle:

Pressure gradient

Directional

Pattern:

Cardioid (per capsule)

(see graph)

Frequency

Range:

20 Hz - 20 kHz

(see graph)

Output

Impedence:

200per side

Sensitivity: -38 dB re 1 Volt/Pascal

(12 mV @ 94 dB SPL)

+/- 2 dB @ 1kHz

Equivalent Noise: <16 dB SPL

(A - weighted per IEC651)

Maximum

Output:

+13.9dBu (@ 1kHz,

1% THD into 1Kload)

Dynamic Range: >128dB

Maximum SPL: 143dB @ 1% THD into 1k

Signal/Noise: 78 dB SPL

(A - weighted per IEC651)

Power

Requirement:

P48 (48V) phantom supply

or 9V battery

Current

Consumption:

P48: 4.50mA (per channel)

9V: 2.50mA

Output

Connection:

5 Pin XLR

Net Weight: 480gm

- 4 -

Speciﬁcations

Frequency Response

Polar Response

• Stereo XY condenser microphone

• Dual externally biased 1/2” capsules with gold

sputtered diaphragm

• Capsules closely matched with full frequency

response

• Dual power operation

• Custom stereo cables included - dual XLR and mini

stereo jack

• Custom twin head windshield (WS4) included

• Durable satin-nickel ﬁnish

• Surface mount circuitry

• 10 year warranty*

Features

-2.0

-20.0

-10.0

*Online product registration required.

- 5 -

Accessories

Powering the NT4

• The NT4 can be powered by either phantom power

(see speciﬁcations) or a 9V battery.

• If phantom power is not available on your

equipment, you will need to use battery power. To

use battery power, a 9 Volt (PP3) battery should be

ﬁtted into the cavity within the microphone body

ensuring correct polarity (+ to + and - to -).

• To install the battery simply unscrew the lower

section of the body and insert the battery into the

cavity (terminals ﬁrst). Secure the battery in place

with the ﬂexible spring clip and reassemble the

body, screwing the sections ﬁrmly together.

RM3 Stand mount WS4 Wind shield

NT4-DXLR stereo XLR lead

NT4-MJ XLR to 3.5mm stereo cable

RC4 Case

- 6 -

• The ON/OFF switch turns the microphone ON

or OFF when powered by either phantom or

battery. When using battery power, the switch

should be switched to OFF when the microphone

is not in use. If left ON, the battery power will be

unnecessarily depleted.

• We recommend that during long periods of non-

use, the battery should be removed, as it may leak

and that could damage your NT4.

• If a battery is installed but phantom power is

available, current will not be drawn from the

battery.

• When the NT4 is switched ON, the red battery

status LED gives an indication of battery power

and should always be carefully observed. When

the LED ﬂashes (illuminates for about 1 second),

the battery power is ‘good’ . If the LED remains

illuminated signiﬁcantly longer, the battery should

be replaced.

• We recommend that you use a high quality alkaline

battery. Tests have shown a life expectancy for

a high quality alkaline battery used in the NT4

to be in excess of 400 hours. This is roughly the

equivalent of 8 hours usage per week for a year.

Powering the NT4

- 7 -

• The NT4 is supplied with both a dual XLR cable

(NT4-DXLR), and a stereo mini-jack cable (NT4-MJ).

• The NT4 may be connected directly to two

channels of a mixer using the twin XLR cable

(marked L and R) supplied, with each channel

panned left and right as required. Connection may

also be made direct to a portable recording device

to enable ﬁeld/location operation using the 9V

battery supply.

• A stand mount clip (RM3) is included with your

NT4, and should be used to connect the NT4 ﬁrmly

and safely to a stable microphone stand unless

operating by hand which should only be used

when it is not possible to stand mount the NT4.

• We recommend that all connections made to the

mixer or recorder are made with the attenuation

(gain) set to OFF.

• When ﬁrst switching the mixer ON and phantom

power is applied to the NT4, or when the

microphone battery power is switched ON, several

seconds should be allowed for the microphone to

stabilise.

Connecting the NT4

- 8 -

• The NT4 is an easy to use, precision stereo

condenser microphone. Choirs, orchestras, drum

over-heads, solo or ensemble instruments, and

many other situations may all be recorded with

the ambience and ‘space’ that only a true stereo

microphone like the NT4 can capture.

• The two capsules used in the NT4 measure 1/2” in

diameter and have a cardioid polar pattern. The

cardioid patterns pick-up sound from in front of

the microphone and reject sound from the rear.

This helps with reducing unwanted sound such as

reverberation and audience sound from the rear of

the capsules.

• It is crucial when stereo recording to have the

capsules closely matched, as in the NT4. The

polar frequency response of each capsule must

be matched because much of the sound in an XY

stereo arrangement is picked up off-axis by each

capsule. The tone can be varied by rotating the

NT4 on its axis, so that the capsules are pointing

towards different areas of the sound source. It is

recommended that you experiment with subtle

position changes to help you achieve your desired

results. The matched capsules of the NT4 allow

for an accurate response when recording a wide

variety of sources in various locations.

• To ensure the lowest noise/distortion, your mixer

input gain control should be set so that the Peak

Program Indicator (PPI) LED ﬂashes ON during

peaks (high levels) of the program source (Voice/

Instrument). If there is no PPI, adjust the input

gain while listening for distortion of the sound. As

distortion is heard, reduce the gain gradually until

the sound is undistorted (clean).

Using the NT4

- 9 -

• Sound quality is of course subjective and ‘your

sound’ will be achieved by experimenting. We

suggest that you begin with EQ set FLAT/OFF (no

boost or cut).

• Remember that EQ cannot change the acoustic

properties of a room. In a studio recording

situation, you should try placing absorbent or

reﬂective panels/material in various positions within

the vicinity of the sound source and microphone.

The positioning of the microphone also has

dramatic effect on the sound quality.

• The best way to assess your recording

environment, is to listen to the ‘unplugged’ sound

you wish to record (use your ears). Remember that

no amount of EQ can correct a ‘bad’ sounding

instrument, voice or recording environment. Any

further desired modiﬁcation of sound can then be

undertaken with the EQ.

Some of the (many) potential applications of the

NT4 might be:

• Drums/Percussion: As an XY stereo overhead

for the recording of drum kits. Simply positioned

at the rear of the kit in the centre behind the

drummer and angled down towards the drums, the

NT4 produces a ‘real’ sounding kit. This method

is very quick and easy. There is no need to worry

- 10 -

about the angles of two individual microphones,

or testing to see if they are two of the same model

which sound a little different to each other.

• Choir/Vocal group: Placement can be in front of

the vocalists with the microphone pointing towards

the middle of the group. The distance between

the vocalists and the microphone depends on the

acoustics of the environment, level of the vocalists

and the sound that you are trying to achieve. More

bass frequencies are evident when the microphone

and vocalists are closer together.

• Piano: Placed strategically above a grand piano,

the NT4 easily and clearly produces the true, stereo

image of that instrument.

• Guitar: Acoustic guitar performances (duo or

ensembles) are captured in true spatial stereo

simply by positioning the NT4 centrally between or

among them, and ﬁnely adjusting the position for

the ultimately desired responses. A solo acoustic

guitar will also beneﬁt from the ambient sound

captured by the NT4. (The closer the microphone

is to the instrument, the less ambience and more

direct guitar sound. For more room ambience,

gradually move the microphone away from the

guitar).

Using the NT4

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