Rode NT1A Professional Microphone
Contents
1. NT1 A Frequency Response Features e Large Capsule 1 with gold plated membrane e Cardioid Polar Pattern gt Ultra low noise transformerless circuitry e New state of the art surface mount electronics e New heavy duty satin nickel finish e Monocoque sub assembly e Internal shock mounting system e Gold plated output connectors e True Condenser externally biased e Full 20Hz 20 kHz frequency response RODE NT1 A Base Pin 1 Ground Cable plug guide Note Ensure cable is connected to correct pins Accessories SM1 Shock Mount 3 8 5 8 Thread Adaptor ZP1 Zip Pouch RODE 1 a NT1 A in SM1 Shock Mount 3 8 5 8 Thread Adaptor The Power Supply 1 Connect all cables before applying power to the microphone and never remove the microphone cable while the power is connected The NT1 A requires P48Volts or P24Volts Phantom Power If the Mixer or Pre amp does NOT contain this Phantom Power requirement then an external Phantom Power supply will be needed Some Phantom Power supplies do not supply the voltage at which they are rated the required voltage is NOT supplied the dynamic range and general performance of the microphone will be reduced This can easily be confirmed by a qualified technician We strongly suggest the use of a reputable high quality power supply Damage to the NT1 A caused by a f2. RODE MICROPHONES NT1 A Instruction Guide RODE STUDIO CONDENSER MICROPHONES RODE nti a Serial Number cccccccececececececaccucecucececeeaeavaeanaens Checked By sacatexeswasasiteccievarsinounusdseaserecenseraticcexdseanues i EEEE EA EAE E A E A This condenser microphone has been proudly designed and manufactured by R DE Microphones in Sydney Australia We at R DE thank you for investing in our product and with the appropriate care it will serve you well for many years to come Please take the time to read the following information which will help you to achieve the best possible performance from your NT1 A Technical Specification e Acoustic Principle Externally polarised 25 mm 1 condenser e Active Electronics JFET impedance converter with bipolar output buffer e Pickup Pattern Cardioid See graph e Frequency Response 20 Hz 20 kHz see graph e Output Impedance 100 Q e Sensitivity 31 9 dB re 1volt pascal 25 mV 94dB SPL 2 dB e Equivalent Noise 5 dBA SPL per IEC651 IEC268 15 e Maximum Output 13 7dBu 1 THD into 1kQ e Dynamic Range gt 132 dB per IEC651 IEC268 15 e Maximum SPL 137 dB 6 1 THD into 1kQ e Signal Noise gt 88 dB 1kHz rel 1 Pa per IEC651 IEC268 15 e Power Requirements Phantom P48 P24 20 120 TT 60 ___8kHz dBV rel 1Pa oul oul 5 270
3. approximately 60cm or 2 above the centre of the sound board aimed slightly towards the front of the piano To record the piano using X Y Stereo technique two closely matched similar microphones should be angled at 90 110degrees to each other over the hammers with 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 image can be achieved with lower frequencies being recorded on the left and the higher frequencies on the right Drums NT1 A towards drum kit There are various ways to record drum kits Single microphone overhead two microphones overhead eg X Y or spaced pair multiple microphones used close to individual drums and cymbals ie Close mic ing facing down Multiple microphones used close to individual drums amp symbols ie Close mic ing To record a kit with a single microphone 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 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 2m apart The mic s would would probably be equi distant from the snare drum To record a kit using the X Y stereo technique two closely matched similar microphones should be placed as above
4. capsule can cause problems for condenser microphones but the use of a pop filter reduces that risk Placement of the microphone and pop filter relative to the vocalist may be varied depending on several factors These can include the acoustics of the room the type of vocal performance and whether the vocalist has a deep or high voice Perhaps a good beginning would be to place the pop filter directly in front of the vocalist and about 15cm away from the microphone Remember that the front of the microphone is indicated by the gold dot This will assist in keeping the performer at a constant minimum distance from the microphone and helps to maintain reasonable recording levels Experimentation should be made with the angle from which the microphone is addressed as different results can be achieved when the vocalist is off axis Note ON axis addressing the microphone directly towards the gold dot Electric Guitar Bass To mic up a Guitar or Bass Amplifier as opposed to Direct Injection of that instrument a microphone may be placed close to the loudspeaker of the amplifer directed slightly to the side off axis of the speaker Note In the absence of a Pad it may be necessary to move the microphone further from the speaker to avoid distortion when loud volume is used Piano Single microphone technique To record a piano using a single microphone see above that microphone should be placed
5. aulty power supply is not covered by the warranty Microphone Placement 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 the microphone is in is our recommended initial approach for obtaining the best sound quality Remember you cannot change a rooms acoustic properties with EQ When the preferred sound has been achieved as above then EQ and effects such as reverb or indeed any other signal processing can be used for enhancement but should be used sparingly It is perhaps 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 again a matter of experimentation Vocals We strongly suggest the use of a pop filter for ALL vocal recording Plosives P s B s and C s can produce a sudden jet of air which can cause the capsule to bottom out overload and produce a popping sound Pop filters help to prevent the effects of plosives Moisture on the
6. in the single microphone position with the front of each microphone pointing down and each at 90 110 degrees to each other Acoustic Guitar A common single microphone position when recording acoustic guitar is between 20 and 30cm 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 An alternative popular technique is to use smaller capsule microphones eg RODE NT 3 3 4 capsule or RODE NT 5 1 2 capsule closer to the guitar AND a large capsule microphone such as the NT1 A further away from the instrument perhaps 1m The sounds recorded by each microphone can then be mixed as preferred Storage After use the NT1 A should be removed from its Shock Mount wiped with a dry soft cloth and placed in its protective zip pouch Be sure to place the moisture absorbent crystals supplied at the head of the microphone The crystals will absorb any moisture present Eventually this pack of crystals will need to be dried When the crystals are pink they are inactive They can easily be reactivated by placing them in an oven at between 100 150 degreesC for a few 10 12 minutes The crystals will be active when they become blue Warranty All RODE products are warrantied for 1 year from the date of purchase Your p
7. urchase may be registered on line or by mailing the warranty card The RODE 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 modification shipping damage or failure to use the microphone as per this Instruction Guide There are no user serviceable parts inside the NT1 A and so there will never be a reason for you to dismantle it In fact to do so may nullify any warranty claim To protect your warranty any service that requires dismantling must be performed by an authorized RODE Service Agent International RODE Microphones 5 Averill St Rhodes NSW 2138 Australia Ph 61 2 8765 9333 Fax 61 2 8765 9444 USA P O Box 3279 Torrance CA 90510 3279 Ph 877 328 7456 Toll Free Within the U S Ph 310 328 7456 Fax 310 328 7180 Technical Support For information and technical support questions In the Unites States and Puerto Rico contact usasupport rodemic com or call 877 328 7456 toll free or 310 328 7456 In Australia contact ozsupport rodemic com or call 61 2 8765 9333 Anywhere except Australia the Unites States and Puerto Rico contact worldsupport rodemic com or call Australia 61 2 8765 9333
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