RODE Microphones NT2-A User manual

(EMC, LVD)
NT2-A Instruction
Manual

NT2-A
I want to thank you for choosing the NT2-A
professional large capsule studio microphone.
Please take a few moments to read this instruction
manual before using your NT2-A, as it will help you
gain the best long-term performance.
The new NT2-A carries on the tradition forged by
the now legendary RØDE NT2. At its heart is the
Australian designed and manufactured HF1 dual
diaphragm capsule; the culmination of many
years of dedicated research into the art and
science of microphone technology.
We use the word ‘art’ because a studio microphone
cannot be judged simply by electroacoustic
measurements alone.
The NT2-A’s ability to evoke the silky smooth
character of the legendary microphones of the 50’s
and 60’s combined with it’s  exibility and superlative
audio characteristics make the NT2-A one of the most
versatile condenser mics available.
At we know that once you hear this remarkable
microphone, you will agree that has created
another benchmark by which all others will
be judged.
Peter Freedman
Sydney, Australia

NT2-A
Specifications
Acoustic Principle: Externally polarized 25 mm
(1”) dual diaphragm.
Active Electronics: J-FET impedance converter
with bipolar output buffer.
Pickup Pattern: Multi-pattern (see graphs below)
Frequency Response: 20 Hz ~ 20 kHz (see graphs)
Output Impedance: 200 Ω
Sensitivity: -36 dB re 1 Volt/Pascal
(16 mV @ 94 dB SPL) +/-2 dB
Equivalent Noise: 7 dBA SPL
(per IEC651, IEC268-15)
Maximum Output: +16 dBu (@ 1% THD into 1 kΩ)
Dynamic Range: 140 dB (per IEC651, IEC268-15)
Maximum SPL: 147 dB (@ 1% THD into 1 kΩ)
157 dB (@ 1% THD into 1 kΩ)
with pad at -10 dB (max)
Signal/Noise: 87 dB (per IEC651, IEC268-15)
Power Requirements: Phantom 48 Volts (P48 Standard).
Features
• Australian designed and manufactured HF1 - 1” edge
terminated, gold sputtered, dual 5 um diaphragm capsule.
• 3 position variable polar pattern: Omni, Cardioid or
Figure 8; all controlled at the mic.
• 3 position variable high-pass lter: 0 dB, -5 dB, and -10 dB.
• 3 position variable pad: Flat, 80 Hz or 40 Hz.
• Ultra low noise, transformer less SMT circuitry.
• Wide dynamic range.
• High strength welded and heat-treated steel mesh head.
• Durable satin nickel nish.
• Internal capsule shock mounting.
• Supplied complete with M2 Mount and Pouch.
• Designed and manufactured in Sydney, Australia.

NT2-A
NT2-A - Frequency Response - Cardioid
dB rel 1V/Pa
10
0 dB
-10
-20
-30
-40
20 Hz 100 1000 10 000 20 000
NT2-A Frequency Response - Omni
dB rel 1V/Pa
10
0 dB
-10
-20
-30
-40
20 Hz 100 1000 10 000 20 000
NT2-A Frequency Response - Figure 8
dB rel 1V/Pa
10
0 dB
-10
-20
-30
-40
20 Hz 100 1000 10 000 20 000
NT2-A Frequency Response
- Omni - 0°, Flat Filter
NT2-A Frequency Response
- Cardioid - 0°, Flat Filter
NT2-A Frequency Response
- Figure 8 - 0°, Flat Filter
0
90 270
180
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 4000 Hz
0
90 270
180
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 1000 Hz
0
90 270
180
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
+5.0 250 Hz
NT2-A Polar Pattern - Figure 8 - 250 Hz, 1000 Hz & 4000 Hz
0
90 270
180
4000 Hz
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
0
90 270
180
1000 Hz
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
0
90 270
180
250 Hz
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
NT2-A Polar Pattern - Cardioid - 250 Hz, 1000 Hz & 4000 Hz
0
90 270
180
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
4000 Hz
0
90 270
180
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 1000 Hz
0
90 270
180
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
+5.0 250 Hz
NT2-A Polar Pattern - Omni - 250 Hz, 1000 Hz & 4000 Hz

Accessories
Applications - Vocals
We strongly recommend the use of a ‘pop- lter’ for ALL
vocal recording. Plosives (“P’s”, “B’s” and “C’s”) can produce
a sudden burst of air, which can cause the capsule to
‘bottom-out’ or overload, producing a distinctive ‘popping’
sound. Moisture deposited on the capsule from both air
and breath-borne sources can cause problems for condenser
microphones. To reduce moisture intrusion and the effects
of plosives, it is important that a pop  lter is used.
Placement of the microphone and pop  lter are important
and depend heavily on the volume and style of the vocalist.
The best position can only be determined by experimenting.
The position shown ( g. 1) may be considered a reasonable
starting position.
The ‘proximity effect’, an increase in the lower (bass)
frequencies, is experienced when close to the microphone.
Proper microphone technique can enable good use to be
made of this effect. For example, Intimate, or low-volume
phrases can be recorded ‘within proximity’ (closer to the
microphone), and louder sections of the performance
presented from a greater distance. This ‘microphone control’
technique is of utmost importance when adding expression
to a vocal recording.
fig. 1
ZP1 - Zip Pouch
M2 - Stand Mount
NT2-A
NT2-A
Mic Front

Applications - Piano
To record a piano using a single NT2-A microphone
( g. 2), it should be placed approximately 200 mm (8”)
above the centre of the sound-board, aimed slightly towards
the front of the piano.
To record a piano using an X/Y Stereo technique,
two NT2-A’s angled at 90-110 degrees to each other ( g. 3),
are positioned over the hammers; 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 ambience may be achieved by recording
lower keys on the left and high keys on the right, placing
the middle keys around the centre of the recorded sound
spectrum.
Applications - Drums
There are various ways to record drum kits.
Single microphone ‘overhead’, two microphones overhead
(e.g. X/Y or spaced) and multiple microphones used close to
individual drums & cymbals (i.e. close mic’ing):
To record a kit with a single microphone (see  g. 4), 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 (Gold Dot) 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 - 2 m apart. The mic’s
would probably be equidistant from the snare drum.
To record a kit using the X/Y stereo technique, microphones
should be placed (as per  g. 3) with the front of each
microphone pointing down, and each at 90-110 degrees
to each other.
fig. 2
fig. 4
NT2-A
fig. 3
90°- 110°
Mic Front
Mic Front
Sound Source

Applications - Acoustic Guitar
A common (single) microphone position when recording
acoustic guitar, is between 20 and 30 cm 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.
1. Mount the NT2-A on the supplied M2 shock mount (g. 5)
then rmly secure the mic & mount assembly to a stable
mic stand. Connect the XLR plug of the microphone cable
(g. 6) rmly and securely to the microphone socket.
2. We strongly suggest you use a high quality oxygen-free
copper cable with gold-plated connectors. The cable
should be as short as possible because long cables may
adversely affect sound quality. A 6 metre cable is a good
compromise.
3. Always position the gold dot facing towards the guitar.
fig. 5 fig. 6
NT2-A

Settings - Polar Pickup Patterns
1. There are three polar pickup patterns, hi-pass lters and
pad settings available on the NT2-A (g. 7).
2. The top 3-position switch located on the front of
the microphone controls the selection of the polar
pickup patterns. The most common position for regular
vocal recording is Cardioid. This is achieved by moving
the top switch to the centre position (g. 8).
When the cardioid position is selected, the microphone
picks up sound from the front of the microphone,
rejecting sound from the rear.
3. When the Omni position is selected, bottom position
(g. 9), the microphone picks up sound from all around
the microphone and there is less “proximity effect”
(an increase in lower frequencies or bass, when the
sound source is ‘closer’ to the microphone). The Omni
pattern is commonly used for room mic’ing or to record a
more natural sound when close mic’ing instruments.
4. When the gure-of-eight is selected, top position (g. 10),
the microphone picks up sound from the front and
rear, while rejecting sound from the sides. This pattern
is commonly used for interviews (2 people using 1
microphone between them) or in conjunction
with a cardioid microphone to use the M-S stereo
recording technique.
5. Experiment with the microphone; listen to the various
pattern, pad and high-pass lter settings and decide what
suits your current application best. Allow 5-10 seconds for
the microphone to stabilize when adjusting the controls.
You won’t damage the microphone no matter what
the switch position, so go ahead, experiment with
any combination!
NT2-A
fig. 8
fig. 9
fig. 10
fig. 7

Settings - High Pass Filter
The middle 3-position switch, referred to as the high-pass
 lter ( g. 11), controls bass frequencies. This control is
sometimes referred to as a “bass-cut” because it reduces
the selected bass frequency and all frequencies below that.
When the switch is in the centre position ( g. 12) there is no
reduction of the bass frequencies and so the microphone
will deliver a full response. When the  lter switch is in the
top position ( g. 13), the level is reduced by 3 dB at 80 Hz
and below, which is certainly audible and will have a direct
effect on most sound sources. When the  lter switch is in
the bottom position ( g. 14), the level is reduced by 3 dB at
40 Hz and below.
You may choose either 40 Hz and 80 Hz cutting up to and
including the selected frequency by 3 dB. This control is
useful for selecting the cut-off point for potentially intrusive
low frequencies (e.g. traf c noise,  oor vibrations etc.).
It can also be used on vocals where you may want a limited
bass or low frequency response for effect.
Why is that important?
The NT2-A has a very wide response. It will pick up sounds
below 20 Hz. That’s a good thing if you want to record a
church organ or other instruments that reproduce very low
bass frequencies. This can cause problems when you pick up
and record loud low frequencies that have nothing to do with
your music. All this does is ‘eat up’ the recording equipment’
level capability, and reduces clarity.
The best way to set this control is to listen to the microphone
while recording the source. If it is vocals for example, set the
mic to the centre position, then listen to the vocal sound
as you change positions from centre to top and from top,
through centre to the bottom. Remember to allow the
microphone to stabilize - approximately 5 - 10 sec.
Remember there are no right or wrong settings; the NT2-A
offers you the flexibility to find ‘your sound’.
NT2-A
fig. 12
fig. 13
fig. 14
fig. 11