RODE Microphones NT2000 User manual

(EMC, LVD)
NT2000
Instruction Manual
www.rodemic.com

- 2 -
Introduction
Thank you for investing in the NT2000
seamlessly variable studio condenser microphone.
We are extremely proud of the NT2000. It is not only
the world’s first large diaphragm condenser studio
microphone with seamlessly variable polar pattern,
filter and PAD located conveniently on the microphone
body, but it also represents the culmination of many
years of dedicated research into the art of recording
microphone technology.
I use the word ‘art’ because a studio microphone
cannot be judged simply by electrical or acoustical
measurements alone. While the NT2000 surpasses
technical specifications only attained by the
superlative class microphones of the world, we at
know that once you hear this remarkable
transducer you will agree that has created a
new benchmark by which all others will be judged.
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

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Specifications
Acoustic
Principle:
Externally polarised 25mm (1”)
dual diaphragm condenser
Active
Electronics:
JFET impedance converter with
bipolar output buffer
Directional
Pattern:
Continuously variable
multi pattern - Omni, through
Cardioid to Figure 8
(see graphs)
Frequency
Range:
20Hz ~ 20kHz
(see graph)
Output
Impedence:
200Ω
Sensitivity: -36dB re 1V/Pa @ 1kHz
(16mV @ 94dB SPL)
±2dB @ 1kHz
Equivalent Noise: 7dBA SPL
(per IEC651)
Maximum
Output:
+15dBu
(@ 1kHz, 1% THD into 1kΩ)
Dynamic Range: 140dB (per IEC651)
Maximum SPL: 147dB
(or 157dB with maximum PAD)
(@ 1kHz, 1% THD into 1kΩ)
Signal/Noise: 87dB SPL
(@ 1kHz, rel 1Pa per IEC651)
Power
Requirement:
Phantom P48, P24
Output
Connection:
3-pin XLR, , balanced output
between pin 2 (+), 3 (-)
and pin 1 (ground)
Net Weight: 831g

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Specifications
Frequency Response
Polar Response
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Frequency:
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1000 Hz:
4000 Hz:
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Cardioid
CardioidFigure 8Omni
Omni

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Features
• Large 1” (25mm) HF1 gold sputtered capsule
• Continuously variable polar pattern, from Omni to
Cardioid to Figure 8 controlled on the mic
• Continuously variable PAD and High-Pass Filter
• Ultra low noise, transformerless SMT circuitry
• Wide dynamic range
• High strength welded and heat treated
steel mesh head
• Internal shock mounting system
• Designed & manufactured in Australia
• Full 10 year guarantee*
Accessories
*Online product registration required.
SM2 shock mount
WS2 wind shield
(optional)
RC1 carry case

- 6 -
Selecting the polar pattern
• The polar pattern or ‘pick-up’ of
the microphone can be adjusted
by moving the top of the three
dials on the microphone.
• The gold dot on the face of the NT2000 indicates
the front of the microphone, and the primary pick-
up area for the cardioid pattern.
Using the PAD
• The PAD reduces the input level
to the microphone’s in-built
pre-amp and can be adjusted
by moving the lower of the three
dials on the microphone.
• When the dial is in the far left position there is
no reduction in the level of the recorded source.
When the dial is in the far right position the level of
the recorded source is lowered by 10dB.
• Any position between 0 and -10dB can be selected,
but note that a level of -3dB reduces the level by
50%.
• The PAD is very useful when recording loud
sound sources (such as close miking of drums or
amplifiers) to avoid overloading the microphone’s
pre-amplifier.
Using the NT2000
Polar pattern control dial
PAD control dial

- 7 -
Using the High-Pass Filter
• The High-Pass Filter controls the bass frequencies.
Sometimes referred to as a ‘bass cut’, this will
reduce the selected bass frequency and all
frequencies below that.
The HPF can be adjusted by
moving the middle of the three
dials on the microphone.
• When the dial is in the far left position there is
no reduction of the bass frequencies and so the
microphone will deliver a full response.
• When the filter is in the far right position the level
is dropped by 3dB at 150Hz and below, which is
certainly audible and will have a direct effect on
most sound sources.
• You may choose any setting between 20Hz and
150Hz to cut the level of the selected frequency
and below by 3dB.
• This control is useful for selecting the cut-off point
for potentially offending low frequencies (eg. traffic
noise, floor vibrations etc). It can also used on
vocals where you may want a limited response for a
‘different’ sound.
• 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 fully anti-
clockwise then listen to the vocal sound as you
start to move the filter in the clockwise position.
Using the NT2000
HPF control dial

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When you begin to notice the change, turn it back
to a lower frequency ‘cut off’ where you can’t hear
the difference and you will have the optimum
setting for that source. This is important as the
NT2000 features a very wide frequency response
which can pick up sounds below 20Hz.
General usage
• Connect all cables before applying power to the
microphone and never remove the microphone
cable while the power is connected.
• The NT2000 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.
• 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.
Using the NT2000

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• 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.
• After use the NT2000 should be removed from
its shock 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(s), 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.
Using the NT2000
Storing the NT2000

- 10 -
These diagrams are for you to write down any
settings you may wish to recreate at a later date.
Notes