RODE Microphones NT2-A User manual

(EMC, LVD)

NT2-A Instruction

Manual

NT2-A

I want to thank you for choosing the NT2-A

professional large capsule studio microphone.

Please take a few moments to read this instruction

manual before using your NT2-A, as it will help you

gain the best long-term performance.

The new NT2-A carries on the tradition forged by

the now legendary RØDE NT2. At its heart is the

Australian designed and manufactured HF1 dual

diaphragm capsule; the culmination of many

years of dedicated research into the art and

science of microphone technology.

We use the word ‘art’ because a studio microphone

cannot be judged simply by electroacoustic

measurements alone.

The NT2-A’s ability to evoke the silky smooth

character of the legendary microphones of the 50’s

and 60’s combined with it’s  exibility and superlative

audio characteristics make the NT2-A one of the most

versatile condenser mics available.

At we know that once you hear this remarkable

microphone, you will agree that has created

another benchmark by which all others will

be judged.

Peter Freedman

Sydney, Australia

NT2-A

Specifications

Acoustic Principle: Externally polarized 25 mm

(1”) dual diaphragm.

Active Electronics: J-FET impedance converter

with bipolar output buffer.

Pickup Pattern: Multi-pattern (see graphs below)

Frequency Response: 20 Hz ~ 20 kHz (see graphs)

Output Impedance: 200 Ω

Sensitivity: -36 dB re 1 Volt/Pascal

(16 mV @ 94 dB SPL) +/-2 dB

Equivalent Noise: 7 dBA SPL

(per IEC651, IEC268-15)

Maximum Output: +16 dBu (@ 1% THD into 1 kΩ)

Dynamic Range: 140 dB (per IEC651, IEC268-15)

Maximum SPL: 147 dB (@ 1% THD into 1 kΩ)

157 dB (@ 1% THD into 1 kΩ)

with pad at -10 dB (max)

Signal/Noise: 87 dB (per IEC651, IEC268-15)

Power Requirements: Phantom 48 Volts (P48 Standard).

Features

• Australian designed and manufactured HF1 - 1” edge

terminated, gold sputtered, dual 5 um diaphragm capsule.

• 3 position variable polar pattern: Omni, Cardioid or

Figure 8; all controlled at the mic.

• 3 position variable high-pass lter: 0 dB, -5 dB, and -10 dB.

• 3 position variable pad: Flat, 80 Hz or 40 Hz.

• Ultra low noise, transformer less SMT circuitry.

• Wide dynamic range.

• High strength welded and heat-treated steel mesh head.

• Durable satin nickel nish.

• Internal capsule shock mounting.

• Supplied complete with M2 Mount and Pouch.

• Designed and manufactured in Sydney, Australia.

NT2-A

NT2-A - Frequency Response - Cardioid

dB rel 1V/Pa

0 dB

-10

-20

-30

-40

20 Hz 100 1000 10 000 20 000

NT2-A Frequency Response - Omni

dB rel 1V/Pa

0 dB

-10

-20

-30

-40

20 Hz 100 1000 10 000 20 000

NT2-A Frequency Response - Figure 8

dB rel 1V/Pa

0 dB

-10

-20

-30

-40

20 Hz 100 1000 10 000 20 000

NT2-A Frequency Response

- Omni - 0°, Flat Filter

NT2-A Frequency Response

- Cardioid - 0°, Flat Filter

NT2-A Frequency Response

- Figure 8 - 0°, Flat Filter

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0 4000 Hz

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0 1000 Hz

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0 250 Hz

NT2-A Polar Pattern - Figure 8 - 250 Hz, 1000 Hz & 4000 Hz

90 270

180

4000 Hz

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0

90 270

180

1000 Hz

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0

90 270

180

250 Hz

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0

NT2-A Polar Pattern - Cardioid - 250 Hz, 1000 Hz & 4000 Hz

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0

4000 Hz

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0 1000 Hz

90 270

180

0.0

-2.0

-4.0

-6.0

-8.0

-10.0

-12.0

-14.0

-16.0

-18.0

-20.0

-22.0

-24.0 -25.0

dB rel. 1V/Pa

+5.0 250 Hz

NT2-A Polar Pattern - Omni - 250 Hz, 1000 Hz & 4000 Hz

Accessories

Applications - Vocals

We strongly recommend the use of a ‘pop- lter’ for ALL

vocal recording. Plosives (“P’s”, “B’s” and “C’s”) can produce

a sudden burst of air, which can cause the capsule to

‘bottom-out’ or overload, producing a distinctive ‘popping’

sound. Moisture deposited on the capsule from both air

and breath-borne sources can cause problems for condenser

microphones. To reduce moisture intrusion and the effects

of plosives, it is important that a pop  lter is used.

Placement of the microphone and pop  lter are important

and depend heavily on the volume and style of the vocalist.

The best position can only be determined by experimenting.

The position shown ( g. 1) may be considered a reasonable

starting position.

The ‘proximity effect’, an increase in the lower (bass)

frequencies, is experienced when close to the microphone.

Proper microphone technique can enable good use to be

made of this effect. For example, Intimate, or low-volume

phrases can be recorded ‘within proximity’ (closer to the

microphone), and louder sections of the performance

presented from a greater distance. This ‘microphone control’

technique is of utmost importance when adding expression

to a vocal recording.

fig. 1

ZP1 - Zip Pouch

M2 - Stand Mount

NT2-A

Mic Front

Applications - Piano

To record a piano using a single NT2-A microphone

( g. 2), it should be placed approximately 200 mm (8”)

above the centre of the sound-board, aimed slightly towards

the front of the piano.

To record a piano using an X/Y Stereo technique,

two NT2-A’s angled at 90-110 degrees to each other ( g. 3),

are positioned over the hammers; 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 ambience may be achieved by recording

lower keys on the left and high keys on the right, placing

the middle keys around the centre of the recorded sound

spectrum.

Applications - Drums

There are various ways to record drum kits.

Single microphone ‘overhead’, two microphones overhead

(e.g. X/Y or spaced) and multiple microphones used close to

individual drums & cymbals (i.e. close mic’ing):

To record a kit with a single microphone (see  g. 4), 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 (Gold Dot) 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 - 2 m apart. The mic’s

would probably be equidistant from the snare drum.

To record a kit using the X/Y stereo technique, microphones

should be placed (as per  g. 3) with the front of each

microphone pointing down, and each at 90-110 degrees

to each other.

fig. 2

fig. 4

NT2-A

fig. 3

90°- 110°

Mic Front

Sound Source

Applications - Acoustic Guitar

A common (single) microphone position when recording

acoustic guitar, is between 20 and 30 cm 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.

1. Mount the NT2-A on the supplied M2 shock mount (g. 5)

then rmly secure the mic & mount assembly to a stable

mic stand. Connect the XLR plug of the microphone cable

(g. 6) rmly and securely to the microphone socket.

2. We strongly suggest you use a high quality oxygen-free

copper cable with gold-plated connectors. The cable

should be as short as possible because long cables may

adversely affect sound quality. A 6 metre cable is a good

compromise.

3. Always position the gold dot facing towards the guitar.

fig. 5 fig. 6

NT2-A

Settings - Polar Pickup Patterns

1. There are three polar pickup patterns, hi-pass lters and

pad settings available on the NT2-A (g. 7).

2. The top 3-position switch located on the front of

the microphone controls the selection of the polar

pickup patterns. The most common position for regular

vocal recording is Cardioid. This is achieved by moving

the top switch to the centre position (g. 8).

When the cardioid position is selected, the microphone

picks up sound from the front of the microphone,

rejecting sound from the rear.

3. When the Omni position is selected, bottom position

(g. 9), the microphone picks up sound from all around

the microphone and there is less “proximity effect”

(an increase in lower frequencies or bass, when the

sound source is ‘closer’ to the microphone). The Omni

pattern is commonly used for room mic’ing or to record a

more natural sound when close mic’ing instruments.

4. When the gure-of-eight is selected, top position (g. 10),

the microphone picks up sound from the front and

rear, while rejecting sound from the sides. This pattern

is commonly used for interviews (2 people using 1

microphone between them) or in conjunction

with a cardioid microphone to use the M-S stereo

recording technique.

5. Experiment with the microphone; listen to the various

pattern, pad and high-pass lter settings and decide what

suits your current application best. Allow 5-10 seconds for

the microphone to stabilize when adjusting the controls.

You won’t damage the microphone no matter what

the switch position, so go ahead, experiment with

any combination!

NT2-A

fig. 8

fig. 9

fig. 10

fig. 7

Settings - High Pass Filter

The middle 3-position switch, referred to as the high-pass

 lter ( g. 11), controls bass frequencies. This control is

sometimes referred to as a “bass-cut” because it reduces

the selected bass frequency and all frequencies below that.

When the switch is in the centre position ( g. 12) there is no

reduction of the bass frequencies and so the microphone

will deliver a full response. When the  lter switch is in the

top position ( g. 13), the level is reduced by 3 dB at 80 Hz

and below, which is certainly audible and will have a direct

effect on most sound sources. When the  lter switch is in

the bottom position ( g. 14), the level is reduced by 3 dB at

40 Hz and below.

You may choose either 40 Hz and 80 Hz cutting up to and

including the selected frequency by 3 dB. This control is

useful for selecting the cut-off point for potentially intrusive

low frequencies (e.g. traf c noise,  oor vibrations etc.).

It can also be used on vocals where you may want a limited

bass or low frequency response for effect.

Why is that important?

The NT2-A has a very wide response. It will pick up sounds

below 20 Hz. That’s a good thing if you want to record a

church organ or other instruments that reproduce very low

bass frequencies. This can cause problems when you pick up

and record loud low frequencies that have nothing to do with

your music. All this does is ‘eat up’ the recording equipment’

level capability, and reduces clarity.

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 the centre position, then listen to the vocal sound

as you change positions from centre to top and from top,

through centre to the bottom. Remember to allow the

microphone to stabilize - approximately 5 - 10 sec.

Remember there are no right or wrong settings; the NT2-A

offers you the flexibility to find ‘your sound’.

NT2-A

fig. 12

fig. 13

fig. 14

fig. 11

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