RODE Microphones NT1-A User manual

(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
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 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
X
Ideal mic height = x