RODE Microphones NT1 User manual

INSTRUCTION MANUAL ENGLISH
1
www.rodemic.com/nt1
World’s Quietest
1” Cardioid Condenser
Microphone
NT1
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2Introduction
The NT1 is a studio quality condenser microphone, designed for
highly detailed sound reproduction. It features a cardioid polar
pattern, meaning that it will pick up sound from directly in front of
the microphone, and reject sound from the rear of the mic. This
pickup pattern allows for recording of the desired sound source
while reducing the sound of other instruments or sound sources.
The NT1 is not only ideal for recording music, but is a fantastic
microphone for podcasting and voiceovers, as well as sound design.
The extremely low inherent noise of the NT1 also makes it perfect
for recording very quiet sound sources.
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3
Features
• Large capsule (1”) with gold-plated membrane
• Cardioid polar pattern
• Internal Rycote®Lyre®based capsule shock mounting system
• Ultra-low noise transformerless circuitry
• State-of-the-art surface mount electronics
• Heavy-duty matte black finish
• Gold plated output connectors
• Designed & manufactured in Australia
• Free 10 year extended warranty when you register online at
www.rodemic.com/warranty
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4Warranty
The NT1 is covered by a limited warranty for one (1) year from the
date of purchase. This can be extended free of charge to a full ten
(10) year warranty by registering your microphone online by visiting
our website as above.
Register your NT1 now and
validate your free 10 year warranty.
Scan the QR code with a smartphone, or visit
www.rodemic.com/warranty
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5
Specifications
0˚
90˚ 270˚
180˚
-2.0
-20.0
-10.0
0.0
-2.0
-4.0
-6.0
-8.0
-10.0
-12.0
-14.0
-16.0
-18.0
-20.0
-22.0
-24.0 -25.0
dB rel. 1V/Pa
+5.0
Frequency:
500 Hz:
1000 Hz:
4000 Hz:
8000 Hz:
14000 Hz:
Polar Response
Frequency
Response
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6Specifications
Acoustic Principle Pressure Gradient
Active Electronics JFET impedance converter with
bipolar output buffer
Directional Pattern Cardioid
Frequency Range 20Hz ~ 20kHz
Output Impedence 100 Ω
Equivalent Noise 4.5 dBA SPL (as per IEC651)
Maximum Output +8 dBu (1kHz, 1% THD into 1K Ω load
Sensitivity -29 dB re 1V/Pa
(35mV @ 94dB SPL)
± 2dB @ 1kHz
Dynamic Range 128 dB SPL
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7
Maximum SPL 132 dB SPL
Signal / Noise 90 dBA SPL (as per IEC651)
Power Requirements 24V phantom power
48V phantom power
Output Connection 3 Pin XLR
Balanced output between pin 2 (+),
pin 3 (-) and pin 1 (ground)
Net Weight 395g
Accessories SMR shock mount
Microphone Dust Cover
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8
Connect all cables before supplying phantom power to the
microphone and never remove the microphone cable while the
power is connected.
The NT1 requires 48V DC (P48) or 24V DC (P24) 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
under warranty.
Powering the NT1
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What is Phantom Power?
All condenser microphones require a power source to operate the
internal circuitry of the microphone.
Phantom power is a DC voltage, supplied to the microphone
through the XLR cable, providing the microphone circuit with the
power it requires to operate, without the need for an external
microphone power supply.
Most mixing desks, audio interfaces, and preamp units have a
phantom power switch inbuilt. If your equipment doesn’t have a
phantom power supply, an external one can be purchased and used
in-line between the preamp and the NT1. Be sure to check that your
phantom power supply is either P48 (48V DC) or P24 (24V DC) to
operate the NT1 correctly.
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10
The SMR shock mount
The NT1 is supplied with
the SMR shock mount.
Featuring suspension based
around the Rycote® Lyre®
system, it is designed to
isolate the microphone from
mechanical noise caused
by vibrations, bumps, and
other low frequency noises
in the recording space.
To mount the NT1, first
remove the threaded ring
from the bottom of the
microphone. From there,
place the microphone in
the mount from above, and
attach the ring underneath
the mount to secure the
microphone in place.
Mounting the NT1
Diagram 1 Mounting the NT1 in the
SMR shock mount
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When changing the mic position, always be sure to loosen the
adjustment knob first to ensure you do not damage the shock mount.
When recording vocals, always use the supplied pop filter, mounted
in front of the microphone. The
pop filter will prevent plosives
(hard ‘P’, ‘B’, ‘T’ and ‘K’ sounds)
from overloading the microphone’s
capsule.
For close miking of instruments,
such as guitar cabinets, the front of
the SMR can be removed to allow
closer microphone placement. To
remove the front plate, remove the
two allen keys from above.
RM2
The RØDE RM2 ring mount is
available as an optional accessory.
It can be used in situations where
the NT1 needs to be mounted in
close proximity to instruments or
in any tight space where the SMR
won’t quite fit. Diagram 2 Adjust the angle of
the microphone by twisting the
adjustment knob on the SMR.
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Diagram 3 Always use the pop filter when recording vocals, to
prevent plosives.
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13
General Operation
The gold dot on the face of the NT1 indicates the front of the
microphone, and the pickup area of the capsule. The gold dot should
always be facing towards the sound source that you wish to record.
When recording any sound source, whether it be vocals, instruments
or anything else, always spend time experimenting with mic placement
to ensure you are picking up the best possible sound. Adjust the
microphone position as many times as you need to achieve this, rather
than attempting to compensate with EQ and other processing tools
later on.
If you are recording through an interface, channel strip or mixing desk
with an inbuilt EQ section, always begin by setting the EQ flat (no cut or
boost) or turn it off if possible.
Once the preferred sound has been achieved through mic placement,
any processing such as EQ, compression, reverb and other effects can
be added to enhance the sound of your recording.
EQ is always best used sparingly, and when attempting to change the
sound of a recording in any way you should always start by ‘cutting’ any
unwanted frequencies, rather than boosting the other frequencies.
As with other aspects of the recording process, finding the right sound
is always a matter of experimentation, and you should always go with
whatever sounds best to you. Listen with your ears, not with your eyes!
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14 Microphone placement
There are no set rules when it comes to microphone placement,
but the tips below are a great starting point to achieve great results
in most scenarios. Don’t be afraid to experiment with your own mic
placements to produce the sound that you’d like to pick up with
your NT1.
Recording vocals
• We strongly recommend using the supplied pop shield
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.
• Moisture on the microphone capsule can cause problems for
any condenser microphone. Using the pop shield will reduce
the risk of this occurring.
• Placement of the microphone 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.
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15
An ideal reference is to begin with the NT1 with the pop shield
attached, mounted directly in front of the vocalist, approximately
15cm (6”) away. The pop shield will assist in keeping the performer
at a constant minimum distance from the microphone and helps
to maintain reasonable recording levels. Moving the vocalist a little
closer will make the vocal sound more intimate and full, while
moving the vocalist back will give the vocal a little more ‘air’ or
room sound, and will reduce the proximity effect (increased bass or
low frequency response when the sound source is very close).
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).
To watch a video showing
microphone placement techniques
for vocals, scan this code with your
smartphone or visit rodetv.com
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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 (see Diagram 4).
In the absence of a PAD it may be necessary to move the mic
further from the speaker to avoid signal distortion when loud
volume is used.
Even small adjustments in the microphone’s position can produce
a very different sound when close-miking speakers, so
experimentation here is a must!
Diagram 4 Position the mic slightly off-centre to the speaker.
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Recording piano (mono)
To record a piano using a single microphone, place the mic
approximately 60cm (2’) above the centre of the sound board,
aimed slightly towards the front of the piano (see Diagram 5).
60cm
Diagram 5 Place the mic approximately 60cm above the soundboard.
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90°-110°
Recording piano (stereo)
To record a piano using a matched pair of NT1s using X/Y stereo
technique, the matched microphones 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
(see Diagram 6). The gold dots should face the piano.
Thus a stereo image can be achieved, with lower frequencies
recorded on the left, and higher frequencies on the right.
Diagram 6 Recording piano in stereo.
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Recording acoustic guitar (mono)
A common (single) microphone position when recording acoustic
guitar is between 20 – 30cm (8-12”) away from the front of
the instrument, where the neck and body meet. Angle the mic
towards the position between the sound hole and the neck joint of
the guitar. Adjust the distance and position to fine tune the desired
response. This will depend on the instrument, style of playing, and
the desired sound.
8-12"
Diagram 7 Recording acoustic guitar with one mic.
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Recording acoustic guitar (two microphones)
An alternative technique is to combine a small capsule
microphone (like the NT5 or NT55) close to the guitar, with a large
capsule mic like the NT1 at a distance of around 1m (3’). The
individually captured sounds recorded by each microphone can
then be mixed as desired.
6-8" 3'
Diagram 8 Recording acoustic guitar with two mics.
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