RODE Microphones Classic II User manual

(EMC, LVD)
Classic II
Instruction Manual
www.rodemic.com

- 2 -
Introduction
We at would like to thank you and
congratulate you on investing in the Classic II.
This valve microphone represents the finest studio
microphone technology currently available.
We know that it will serve you well for many years
and provide you with a performance you will be
extremely proud of.
The Classic II has been developed from the original
Classic, both of which are the preferred valve
microphone of a huge number of professional
engineers and musicians.
The character of the original Classic has been
retained, but by utilising a revised edge-terminated
diaphragm, and further refining the electronic
circuitry, a new level of performance has been
achieved.
Please take the time to visit www.rodemic.com and
register your microphone for a full ten year warranty.
While there you can view studio tips and techniques,
as well as browse the comprehensive range of
accessories for microphones.
Peter Freedman
Microphones
Sydney, Australia

- 3 -
Specifications
Acoustic
Principle:
Pressure gradient
Directional
Pattern:
Switchable Omnidirectional/
Cardioid / Figure-8 in nine steps
(see graph)
Frequency
Range:
20 Hz-20 kHz
(see graph)
Output
Impedence:
200Ω
Sensitivity: -37dB re 1V/Pa
(14mV @ 94dB SPL) +/-2dB
Equivalent Noise: <18 SPL
(A - weighted per IEC651)
Maximum
Output:
+2dBu
(@ 1kHz, 1% THD into 1KΩ)
Dynamic Range: >113 dB SPL
(A - weighted per IEC651)
Maximum SPL: 131dB SPL
(@ 1kHz, 1% THD into 1KΩ)
Signal/Noise: > 76dB SPL
(A - weighted per IEC651)
Power
Requirement:
Dedicated Power Supply
(110 ~ 120V/220 ~ 240V, 50/60 Hz)
Net Weight: 1440gm
Packed Weight: 9kg

- 4 -
Specifications
Frequency Response
Polar Response
dB re 1 V/Pa
20
10
0
-10
-20
-30
20Hz 100 1000 10 000 20 000
dB re 1 V/Pa
20
10
0
-10
-20
-30
20Hz 100 1000 10 000 20 000
5
-5
-15
-25
-35
-45
-55
-60
-50
-40
-30
-20
-10
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
0
-5
-10
-15
-20
-25
-30
-25
-20
-15
-10
-5
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
Cardioid
Cardioid
Omni
Omni

- 5 -
Features
• Custom spec 1” dual diaphragm capsule
• Vintage twin triode GE JAN-6072 valve
• Nine polar patterns
• Jensen output transformer
• Variable Pad & Filter
• Machined from solid brass
• Hand-polished body
• Double-shielded oxygen-free 9m (30’) cable
• Heavy-duty plugs and sockets
• Aluminum flight case
• Made in Australia
• 10 Year warranty*
Specifications
*Online product registration required.
5
-5
-15
-25
-35
-45
-55
-65
-70
-60
-50
-40
-30
-20
-10
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
Figure 8

- 6 -
Accessories
• Transformer (variable polar/pad/filter)
• SM2 Shock Mount
• Double-shielded, oxygen free
premium cable
• RM2 Stand Mount
• RCCLII flight case

- 7 -
Before Using the Classic II
• Ensure that your Classic II has been set to the
correct voltage, as used in your country. The
Classic II can be used with mains supply voltages
of between either 100-120V 50/60Hz or 220-240V
50/60Hz.
• To select for 100-120V use, set the voltage selector
to 120V and use a 250mA clow blow fuse.
• To select for 220-240V use, set the voltage selector
to 240V and use a 160mA slow blow fuse.
• The back panel of the Classic II power supply has a
microphone output socket, a ground (earth) lift, a
microphone input socket, a voltage selector, and a
mains power socket which also incorporates a fuse.
Fuse & Voltage Selector
Mains Input Socket
Mains Switch

- 8 -
Connecting the Classic II
• Having ensured that the power supply is set to
the correct voltage you can begin to connect the
Classic II to the power supply. Do not connect the
power to the mains or switch on the microphone
before connecting it to the power supply.
• Connect the male multicore plug of the Classic II
cable to the input socket on the rear of the power
supply. The white dot on the cable indicates the
top side, to be facing upwards.
• Place the Classic II into the SM2 shock mount,
ensuring it is firmly connected to a microphone
stand capable of supporting the microphone’s
weight.
• Connect the female multicore plug of the
Classic II cable to the microphone. The white dot
on the cable should align with the front of the
microphone, indicated by its gold dot.
Ensure that both plugs are correctly aligned and
pushed firmly into their respective sockets. By
screwing the threaded locking nut of the cable to
the base of the microphone, the Classic II should
now be seated firmly in the mount.

- 9 -
• Now connect an XLR microphone cable to the
output socket on the rear of the power supply,
taking that output to your mixer/pre-amplifier.
• We suggest the use of a high quality cable,
preferably with gold plated contacts. Use as short
a cable as possible, as long cables can adversely
affect sound quality.
• Now you can connect the power supply to the
mains supply and begin using the Classic II
microphone.
• It is recommended to allow several minutes to
allow the microphone to stabilise. This will also
extend the life of the microphone valve.
Connecting the Classic II

Setting the Polar Pattern
- 10 -
Your Classic II can be adjusted to any of nine polar
patterns from omni, through cardioid to figure of
eight. This flexibility allows recording of most
instruments and/or voices with absolute control.
• Select the preferred polar pattern. This is done
with the middle dial on the front of the Classic II
Power Supply. (The most commonly used pattern
for vocal recording is Cardioid – at the 12 o’clock
position).
• When the cardioid position is selected, the
microphone picks up sound from in front of the
microphone, and rejects sound from the rear.
• When in the omni position (fully anti-clockwise),
the microphone picks up sound from all around
the microphone and there is no proximity effect as
found in cardioid mode.
5
-5
-15
-25
-35
-45
-55
-60
-50
-40
-30
-20
-10
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
Front is picked up
Rear is rejected

• When in the Figure 8 position (fully clockwise),
the microphone picks up sound from in front and
behind, and rejects sound from the other two
sides. This pattern is commonly used for interviews
(Two people with the microphone between them)
or in conjunction with a cardioid microphone to use
the MS (mid-side) stereo recording technique.
Setting the Polar Pattern
- 11 -
5
-5
-15
-25
-35
-45
-55
-65
-70
-60
-50
-40
-30
-20
-10
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
Front is picked up
Rear is picked up
Sides are rejected
0
-5
-10
-15
-20
-25
-30
-25
-20
-15
-10
-5
0
0
30
60
90
120
150
180
210
240
270
300
330
250 Hz
1 kHz
4 kHz
Rear and sides are picked up
Front is picked up
(Proximity Effect is an increase in lower
frequencies when the sound source is ‘close’ to
the microphone). The omni pattern is commonly
used for room (ambient) miking or to record a more
natural sound when close miking instruments.

Using the Classic II
• The gold dot on the face of the Classic II 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.
Setting the PAD
The PAD setting can be used to attenuate the
output level of the microphone so that it does not
exceed the maximum input level of your recording
device. This is useful when recording high SPL
sources such as guitar amplifiers or percussion.
The right hand dial on the front of the Classic II
power supply can be used to set the PAD at 0 (Off),
-10dB or -20dB.
Setting the High Pass Filter
The High-Pass Filter setting can be used to reduce
the microphone’s sensitivity to low frequency
sounds, and is useful when you wish to avoid
additional noise and vibration from outside traffic,
air conditioning and machinery, foot tapping etc.
The left hand dial on the front of the Classic II
power supply can be used to set the High-Pass
Filter.
• We strongly recommend the use of a pop shield or
filter for all vocal recording. These aid 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 a pop shield will reduce the risk
of this occurring.
- 12 -

- 13 -
.• 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.
• 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).
• If an earth loop is present (a mains frequency hum)
there is a ground lift switch on the rear panel of
the power supply, which should be raised to the
‘lift’ position. This earth loop can appear when two
devices which are both earthed are connected
together.
Using the Classic II
.• After use the Classic II should be removed from its
mount, wiped with a dry, soft cloth and placed in its
protective case.
• Be sure to place the moisture-absorbent crystals
(supplied) at the head of the microphone, so as to
absorb any moisture present.
• Eventually this pack of crystals will need to be
dried. This is indicated by the crystals turning pink
in colour. They can easily be re-used by placing
them in an oven at 100 - 150 degrees celsius
for approximately ten minutes. The crystals will
operate effectively again once they have turned
blue.
Storage

- 14 -
DO NOT DISCONNECT THE MICROPHONE
CABLE WHILE THE SYSTEM IS POWERED
AS THIS MAY RESULT IN DAMAGE TO THE
MICROPHONE
NEVER REMOVE THE MAINS EARTH
DOING SO CAN HAVE LETHAL CONSEQUENCES
ACHTUNG: LEBENSGEFAHR
ENTFERNE NIEMALS DEN SCHUTZLEITER
NON SCOLLEATE IL FILO DI TERRA
POTREBBE ESSERE MOLTO PERICOLOSO PER IL RISCHIO DI
SCOSSE ELETTRICHE
RELIEZ IMPERATIVEMENT L’ALIMENTATION A LA PRICE TERRE
SOUS RRISQUE MORTEL S’ÉLECTROCUTION
NUNCA MANIPULE LA TOMA DE TIERRA
ESTA ACCION PUEDE TENER GRAVES CONSECUENCIAS
IMPORTANT NOTICE

Heading
Text
- 15 -- 15 -
NOTE: There are no user-serviceable parts inside the Classic II
supply, but there ARE potentially lethal voltages.
If the microphone supply does not work correctly, you should
consult either the dealer you purchased the microphone from, or
a qualified electronic technician.
DO NOT under any circumstance open the unit
yourself!
ACHTUNG: Das Classic II Netzteil enthält keine Teile, die vom
Benutzer repariert werden können.
Gefahr: Das Gerät enth ält spannungführende Bauteile!
Für Reparaturen suchen Sie bitte Ihren Händler oder einen
qualifizierten Fachbetrieb auf.
Auf keinen Fall dürfen Sie selbst das Gehäuse
offnen!
NOTA: All’interno dell’alimentatore del Classic II non ci sono
parti riparabili dall’utente ma ci sono invece tensioni pericolose!
Se I’alimentatore non funziona correttamente dovete consultare
il rivenditore presso il quale avete acquistato il microfono oppure
un tecnico elettronico qualificato.
NON APRITE in ogni caso I’unità in quanto
pericoloso!
AVERTISSEMENT: N’enlevez pas le capot de I’alimentation,
sous risque d’éléctrocution. Si I’alimentation ne fonctionne
pas correctement, consultez votre revendeur, ou un technicien
qualifié.
Vous ne devez sous aucun prétexte ouvrir
I’alimentation vous-même!
NOTA: No manipule internamente la fuente de alimentacion del
Classic II, puesto que el alto voltaje puede ser perjudicial en caso
de sufrir una descarga.
Si se apreciara un functionamiento incorrecto de la fuente de
alimentacion, debera consultarlo en el establecimiento donde
adquirio la unidad, solo puede ser manipulado por un servicio
tecnico cualificado.
Bajo ninguna circunstancia abra VD. la unidad.
IMPORTANT NOTICE

- 16 -- 16 -
Warranty
All microphones are warranted for one year
from date of purchase. You can extend that to a full
ten years if you register online at www.rodemic.com.
The warranty covers parts and labour that may be
required to repair the microphone during the warranty
period. The warranty excludes defects caused by
normal wear and tear, modification, shipping damage,
or failure to use the microphone as per the instruction
guide.
If you experience any problem, or have any questions
regarding your microphone, first contact the
dealer who sold it to you. If the microphone requires a
factory authorised service, return will be organised by
that dealer.
We have an extensive distributor/dealer network, but
if you have difficulty getting the advice or assistance
you require, do not hesitate to contact us directly.
Microphones
For Technical Support
For all technical support matters, please see the
RØDE support Frequently Asked Questions at
www.rodemic.com/support
If you are unable to resolve your issue, please contact
RØDE at the email addresses below:
Australian customers – [e-mail]
US customers – [e-mail]
English speaking customers from other regions –
[e-mail]
For support in languages other than English please
contact your local RØDE representative
(listed at www.rodemic.com/distributors)