RODE Microphones NT2-A User manual

(EMC, LVD)
NT2-A
Instruction Manual
www.rodemic.com
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- 2 -
Introduction
We at would like to thank you for investing in
the NT2-A Multi-Pattern Large Diaphragm
Condenser Microphone.
The NT2-A carries on the tradition forged by the
legendary NT2. It was recognised as the World’s Best
Studio Microphone by the MIPA in 2006, in addition
to being awarded the Electronic Musician Editor’s
Choice.
The NT2-A’s ability to evoke the silky smooth
character of the legendary microphones of the 50’s
and 60’s combined with its flexibility and superlative
audio characteristics make it one of the most
versatile condenser mics available.
We’ve titled this the ‘NT2-A Studio Solution’ as
we’ve included everything you need to get truly
professional vocal recordings - The world’s best
studio microphone, a studio grade pop shield and
shock mount, premium cable, dust cover and of
course ’s industry leading ten year warranty.
Not to mention, you also receive a free DVD exclusive
to this Studio Solution package, with Grammy™
nominated producer John Merchant showing you
how to get the best recordings from your NT2-A.
Please take the time to visit www.rodemic.com and
register your microphone for a full ten year warranty.
Peter Freedman
Microphones
Sydney, Australia
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- 3 -
Specifications
Acoustic
Principle:
Pressure, Pressure gradient
Directional
Pattern:
Three position variable - Omni,
Cardioid or Figure 8 (see graph)
Frequency
Range:
20 Hz - 20 kHz
(see graph)
Output
Impedence:
200Ω
Sensitivity: -36 dB re 1 Volt/Pascal
(16 mV @ 94 dB SPL)
+/- 2 dB @ 1kHz
Equivalent Noise: 7dBA SPL
(per IEC651)
Maximum
Output:
+16dBu
(@ 1kHz, 1% THD into 1KΩload)
Dynamic Range: 140 dB
(per IEC651, IEC268-15)
Maximum SPL: 147dB SPL
(@ 1kHz, 1% THD into 1KΩload)
(157dB with PAD at maximum)
Signal/Noise: 87 dB SPL
(A - weighted per IEC651)
Power
Requirement:
P48 (48V) phantom supply
Net Weight: 860gm
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- 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
Cardioid
Omni
Omni
Cardioid
Figure 8
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- 5 -
Accessories
Features
• Large 1” gold sputtered capsule
• On-body control of polar pattern, HPF and PAD
• Three position variable polar pattern -
Omni, Cardioid or Figure 8
• Three position variable High-Pass Filter -
Flat, 40Hz or 80Hz
• Three position PAD - 0dB, -5dB or -10dB
• Ultra low noise, transformerless surface mount
circuitry
• Wide dynamic range
• Internal capsule shock mounting
• Made in Australia
• Full 10 Year warranty*
*Online product registration required.
SM6 Shock mount
(including studio grade pop shield)
Premium XLR Cable
Microphone sleeve/
dustcover
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- 6 -
Using the NT2-A
• The NT2-A is a phantom powered microphone. To
operate correctly it requires a 48V phantom supply
from the mixing console or other source.
• Please ensure all cable connections are secure
before applying power to the microphone, and
allow a few moments for the microphone to
stabilise after the power is turned on.
• The gold dot on the face of the NT2-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.
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- 7 -
Using the NT2-A
• 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.
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- 8 -
Setting the Polar Pattern
The NT2-A polar pattern can be adjusted to either
omni, through cardioid or figure of eight. This
flexibility allows for more versatile recording of
vocals, instruments and sound sources. After making
a selection change, allow a few moments for the
microphone to stabilise.
• Select the polar pattern via the top selector switch
on the NT2-A body.
• When the cardioid position is selected (center), the
microphone picks up sound from in front of the
microphone, and rejects sound from the rear.
Selector Switch
Front is picked up
Rear is rejected
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- 9 -
Setting the Polar Pattern
• When in the omni position (lower position), the
microphone picks up sound from all around the
microphone and there is less proximity effect than
in cardioid mode. (Proximity Effect is an increase
in lower (bass) 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.
• When in the figure 8 position (upper position),
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.
Rear and sides are picked up
Front is picked up
Rear is picked up
Sides are rejected
Front is picked up
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- 10 -
Setting the
High-Pass Filter
Setting the PAD
Storage
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 middle selector switch on the front of the NT2-A can
be used to set the High-Pass Filter to 0Hz/Flat (center
position), 40Hz (lower position) or 80Hz (upper position).
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 bottom selector switch on the front of the NT2-A can
be used to set the PAD at 0 (center position), -5dB (lower
position) or -10dB (upper position).
• After use the NT2-A should be removed from its
mount, wiped with a dry, soft cloth and placed in the
provided microphone sleeve/dust cover.
• 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.
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