RODE Microphones NT4 User manual

(EMC, LVD)
NT4
Instruction Manual
www.rodemic.com

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Introduction
Thank you for investing in the NT4 stereo condenser
microphone.
The NT4 solves the age-old problem of stereo
recording by eliminating the need to purchase matched
pairs and the associated complex set-up bars and
adaptors to get professional results. With a fixed 90
Degree X/Y configuration and perfectly matched stereo
condenser capsules, the NT4 lets you record any source
with immaculate stereo detail.
The NT4 has a 128 dB dynamic range, 143 dBA SPL and
low self-noise. Offering selectable battery or phantom
power operation with power indicator light, the NT4 is
ideally suited to both studio and location recording.
Please take the time to visit www.rodemic.com and
register your microphone for a full ten year warranty.
While there you can view recording 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:
Pressure gradient
Directional
Pattern:
Cardioid (per capsule)
(see graph)
Frequency
Range:
20 Hz - 20 kHz
(see graph)
Output
Impedence:
200per side
Sensitivity: -38 dB re 1 Volt/Pascal
(12 mV @ 94 dB SPL)
+/- 2 dB @ 1kHz
Equivalent Noise: <16 dB SPL
(A - weighted per IEC651)
Maximum
Output:
+13.9dBu (@ 1kHz,
1% THD into 1Kload)
Dynamic Range: >128dB
Maximum SPL: 143dB @ 1% THD into 1k
Signal/Noise: 78 dB SPL
(A - weighted per IEC651)
Power
Requirement:
P48 (48V) phantom supply
or 9V battery
Current
Consumption:
P48: 4.50mA (per channel)
9V: 2.50mA
Output
Connection:
5 Pin XLR
Net Weight: 480gm

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Specifications
Frequency Response
Polar Response
• Stereo XY condenser microphone
• Dual externally biased 1/2” capsules with gold
sputtered diaphragm
• Capsules closely matched with full frequency
response
• Dual power operation
• Custom stereo cables included - dual XLR and mini
stereo jack
• Custom twin head windshield (WS4) included
• Durable satin-nickel finish
• Surface mount circuitry
• 10 year warranty*
Features
-2.0
-20.0
-10.0
*Online product registration required.

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Accessories
Powering the NT4
• The NT4 can be powered by either phantom power
(see specifications) or a 9V battery.
• If phantom power is not available on your
equipment, you will need to use battery power. To
use battery power, a 9 Volt (PP3) battery should be
fitted into the cavity within the microphone body
ensuring correct polarity (+ to + and - to -).
• To install the battery simply unscrew the lower
section of the body and insert the battery into the
cavity (terminals first). Secure the battery in place
with the flexible spring clip and reassemble the
body, screwing the sections firmly together.
RM3 Stand mount WS4 Wind shield
NT4-DXLR stereo XLR lead
NT4-MJ XLR to 3.5mm stereo cable
RC4 Case

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• The ON/OFF switch turns the microphone ON
or OFF when powered by either phantom or
battery. When using battery power, the switch
should be switched to OFF when the microphone
is not in use. If left ON, the battery power will be
unnecessarily depleted.
• We recommend that during long periods of non-
use, the battery should be removed, as it may leak
and that could damage your NT4.
• If a battery is installed but phantom power is
available, current will not be drawn from the
battery.
• When the NT4 is switched ON, the red battery
status LED gives an indication of battery power
and should always be carefully observed. When
the LED flashes (illuminates for about 1 second),
the battery power is ‘good’ . If the LED remains
illuminated significantly longer, the battery should
be replaced.
• We recommend that you use a high quality alkaline
battery. Tests have shown a life expectancy for
a high quality alkaline battery used in the NT4
to be in excess of 400 hours. This is roughly the
equivalent of 8 hours usage per week for a year.
Powering the NT4

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• The NT4 is supplied with both a dual XLR cable
(NT4-DXLR), and a stereo mini-jack cable (NT4-MJ).
• The NT4 may be connected directly to two
channels of a mixer using the twin XLR cable
(marked L and R) supplied, with each channel
panned left and right as required. Connection may
also be made direct to a portable recording device
to enable field/location operation using the 9V
battery supply.
• A stand mount clip (RM3) is included with your
NT4, and should be used to connect the NT4 firmly
and safely to a stable microphone stand unless
operating by hand which should only be used
when it is not possible to stand mount the NT4.
• We recommend that all connections made to the
mixer or recorder are made with the attenuation
(gain) set to OFF.
• When first switching the mixer ON and phantom
power is applied to the NT4, or when the
microphone battery power is switched ON, several
seconds should be allowed for the microphone to
stabilise.
Connecting the NT4

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• The NT4 is an easy to use, precision stereo
condenser microphone. Choirs, orchestras, drum
over-heads, solo or ensemble instruments, and
many other situations may all be recorded with
the ambience and ‘space’ that only a true stereo
microphone like the NT4 can capture.
• The two capsules used in the NT4 measure 1/2” in
diameter and have a cardioid polar pattern. The
cardioid patterns pick-up sound from in front of
the microphone and reject sound from the rear.
This helps with reducing unwanted sound such as
reverberation and audience sound from the rear of
the capsules.
• It is crucial when stereo recording to have the
capsules closely matched, as in the NT4. The
polar frequency response of each capsule must
be matched because much of the sound in an XY
stereo arrangement is picked up off-axis by each
capsule. The tone can be varied by rotating the
NT4 on its axis, so that the capsules are pointing
towards different areas of the sound source. It is
recommended that you experiment with subtle
position changes to help you achieve your desired
results. The matched capsules of the NT4 allow
for an accurate response when recording a wide
variety of sources in various locations.
• To ensure the lowest noise/distortion, your mixer
input gain control should be set so that the Peak
Program Indicator (PPI) LED flashes ON during
peaks (high levels) of the program source (Voice/
Instrument). If there is no PPI, adjust the input
gain while listening for distortion of the sound. As
distortion is heard, reduce the gain gradually until
the sound is undistorted (clean).
Using the NT4

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• Sound quality is of course subjective and ‘your
sound’ will be achieved by experimenting. We
suggest that you begin with EQ set FLAT/OFF (no
boost or cut).
• Remember that EQ cannot change the acoustic
properties of a room. In a studio recording
situation, you should try placing absorbent or
reflective panels/material in various positions within
the vicinity of the sound source and microphone.
The positioning of the microphone also has
dramatic effect on the sound quality.
• The best way to assess your recording
environment, is to listen to the ‘unplugged’ sound
you wish to record (use your ears). Remember that
no amount of EQ can correct a ‘bad’ sounding
instrument, voice or recording environment. Any
further desired modification of sound can then be
undertaken with the EQ.
Some of the (many) potential applications of the
NT4 might be:
• Drums/Percussion: As an XY stereo overhead
for the recording of drum kits. Simply positioned
at the rear of the kit in the centre behind the
drummer and angled down towards the drums, the
NT4 produces a ‘real’ sounding kit. This method
is very quick and easy. There is no need to worry

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about the angles of two individual microphones,
or testing to see if they are two of the same model
which sound a little different to each other.
• Choir/Vocal group: Placement can be in front of
the vocalists with the microphone pointing towards
the middle of the group. The distance between
the vocalists and the microphone depends on the
acoustics of the environment, level of the vocalists
and the sound that you are trying to achieve. More
bass frequencies are evident when the microphone
and vocalists are closer together.
• Piano: Placed strategically above a grand piano,
the NT4 easily and clearly produces the true, stereo
image of that instrument.
• Guitar: Acoustic guitar performances (duo or
ensembles) are captured in true spatial stereo
simply by positioning the NT4 centrally between or
among them, and finely adjusting the position for
the ultimately desired responses. A solo acoustic
guitar will also benefit from the ambient sound
captured by the NT4. (The closer the microphone
is to the instrument, the less ambience and more
direct guitar sound. For more room ambience,
gradually move the microphone away from the
guitar).
Using the NT4