Rode NT1-A
Contents
1. e The NT1 A requires P48 volts or P24 volts phantom power e Ifthe mixer or preamp does not contain this phantom power requirement then an external phantom power supply is needed e 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 e 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 Online product registration required IE Microphone Placement e The gold dot on the face of the NT1 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 e Microphone technique or how to get the sound you want requires experimentation We suggest that you start with the channel EO 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 e 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 EO and effects such as reverb2. depend on the instrument style of playing and the desired sound An alternative technique is to combine a small capsule microphone like the NT5 or NT55 close to the guitar with a large capsule microphone like the NT1 A at a distance of around a metre The individually captured sounds recorded by each microphone can then be mixed as desired Recording drums e There are various ways to record drum kits Single mics overhead multiple mics X Y or spaced pair or multiple mics close to individual drums and cymbals close miking e To record a kit using a single microphone we suggest that you begin by placing the mic above the direct centre of the kit at the same height as the kit is wide see below with the front of the microphone gold dot facing down Ideal mic position Drum kit width x e To record a kit using two overhead microphones they should be placed at a similar height to the single technique and depending on the kit size approximately 1 2m 3 6 apart The mics should generally be equi distant from the snare drum e To record a kit using a matched pair of microphones in X Y stereo technique the microphones should be placed in the location of the single mic technique with the front of each microphone gold dot pointing down and at an angle of 90 110 degrees to each other Ideal mic height x 5410 Storage After use the NT1 A should be removed from
3. its shock mount wiped with a dry soft cloth and placed in the supplied protective sleeve dust cover Alternatively if the mic is being used regularly we strongly suggest you cover the mic with the supplied protective sleeve dust cover This can simply be slipped over while the mic is still in the shock mount Be sure to place the moisture absorbent crystals supplied at the head of the microphones 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 21 Warranty All RODE microphones are warranted for one year from date of purchase You can extend that to a full ten years if you register online at www rodemic com The warranty covers parts and labour that may be required to repair the microphone during the warranty period The warranty excludes defects caused by normal wear and tear modification shipping damage or failure to use the microphone as per the instruction guide If you experience any problem or have any questions regarding your RODE microphone first contact the dealer who sold it to you If the microphone requires a factory authorised service return will be organised by that dealer We have an exten
4. or indeed any signal processing can be used for enhancement but should be used sparingly e Itis 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 Recording vocals e We strongly recommend using the suppled popshield 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 e Any moisture on the microphone capsule can cause problems for condenser microphones however the use of the pop shield will reduce the risk of this occurring e Placement of the microphone and pop shield 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 e An ideal reference is to begin with the pop shield directly in front of the vocalist and approximately 15cm 6 away from the microphone This will assist in keeping the performer at a constant minimum distance from the microphone and helps to maintain reasonable recording levels e Experimentation should be made with the angle from w
5. RODE MICROPHONES NT1 A Instruction Manual E DE NT1 A_ wo www rodemic com CE EMC vD Introduction On behalf of the entire team at RODE l d like to personally thank you for investing in the RODE NT1 A studio condenser microphone We re proud to say that the NT1 A has become an industry standard providing the warmth extended dynamic range clarity and high SPL capability usually only featured by some of the most expensive microphones We ve titled this the Complete Vocal Recording Solution as we ve included everything you need to get truly professional vocal recordings the world s quietest studio microphone a studio grade popshield and shock mount premium cable dust cover and of course RODE s industry leading ten year warranty The NT1 A is an exceptional vocal microphone but I m pleased to say that you will find it an equally capable microphone for almost any recording application including acoustic and electric instruments and percussion 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 the NT1 A and other RODE microphones He Peter Freedman RODE Microphones Sydney Australia Specifications Acoustic Principle Active Electronics Directional Pattern Frequency Range Output Impe
6. dence Sensitivity Equivalent Noise Maximum Output Dynamic Range Maximum SPL Signal Noise Power Requirement Output Connection Net Weight Externally polarised 25mm 1 condenser JFET impedance converter with bipolar output buffer Cardioid see graph 20Hz 20 000Hz see graph 100Q 319dB re 1V Pa 1kHz 25mV Pa 94dB SPL 2dB 1kHz 5dBA SPL per IEC651 13 7dBu 1kHz 1 THD into 1kQ gt 132dB per IEC651 137dB 1kHz 1 THD into 1kQ 88dB SPL 1kHz rel 1Pa per IEC651 Phantom P48 P24 3 pin XLR 326g Specifications Frequency Response dB re 1V Pa 20Hz 100 1000 10 000 20 000 0250 90 dB rel 1V Pa Frequency 500 Hz mm 1000 Hz mm 4000 Hz mm Accessories SM6 shock mount including studio grade pop shield Premium XLR cable Microphone sleeve dust cover Features e Large capsule 1 with gold plated membrane e Cardioid polar pattern e Ultra low noise transformerless circuitry e New state of the art surface mount electronics e Heavy duty satin nickel finish e Monocoque sub assembly e Internal shock mounting system e Gold plated output connectors e Designed amp manufactured in Australia e Full 10 year guarantee Supplying Power e Connect all cables before applying power to the microphone and never remove the microphone cable while the power is connected
7. hich the microphone is addressed as different results can be achieved when the vocalist is off axis to the microphone and the gold dot A Recording electric guitar bass e 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 e Inthe absence of a PAD it may be necessary to move the microphone further from the speaker to avoid distortion when loud volume is used Recording piano e To record a piano using a single microphone you should place the mic approximately 60cm 2 above the centre of the sound board aimed slightly towards the front of the piano e To record a piano using a matched pair of NT1 As using X Y stereo technique the matched microphone 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 The gold dots should face the piano An effective stereo image can be achieved with lower frequencies being recorded on the left and higher frequencies on the right Recording acoustic guitar A common single microphone position when recording acoustic guitar is between 20 and 30 centimetres 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 will
8. sive distributor dealer network but if you have difficulty getting the advice or assistance you require do not hesitate to contact us directly RODE Microphones International 107 Carnarvon Street Silverwater NSW 2128 Australia Ph 61 2 9648 5855 Fax 61 2 9648 2455 USA P O Box 4189 Santa Barbara CA 93140 4189 Ph 805 566 7777 Fax 805 566 0071 Technical Support For information and technical support questions contact support rodemic com In the Unites States and Puerto Rico contact usasupport rodemic com or call 805 566 7777 In Australia contact ozsupport rodemic com or call 02 9648 5855 Anywhere except Australia the United States and Puerto Rico contact support rodemic com or call 61 2 9648 5855 212
Download Pdf Manuals
Related Search