RODE Microphones NT2000 Handbuch
NT2000
Instruction Guide
(EMC, LVD)
✔
STUDIO CONDENSER MICROPHONES
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I want to thank you for choosing the NT2000 studio condenser
microphone.
Please take a few moments to read this information booklet before using the
NT2000, as it will help you gain the best long-term performance from this
microphone.
We are very proud of the NT2000. This microphone represents the
culmination of many years of dedicated research into the art of recording
microphone technology.
We use the word ʻartʼ 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.
Peter Freedman
Sydney Australia
Serial Number: ......................................
Checked by: ..........................................
THE NT2000
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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)
• Frequency Response: 20 Hz ~ 20 kHz (see graph)
• Output Impedance: 200 Ω
• Sensitivity: -36 dB re 1 Volt/Pascal (16 mV @ 94dB SPL) +/- 2 dB
• Equivalent Noise: 7 dBA SPL (per IEC651, IEC268-15)
• Maximum Output: + 15 dBu (@ 1% THD into 1kΩ)
• Dynamic Range: 136 dB (per IEC651, IEC268-15)
• Maximum SPL: 147 dB (@ 1% THD into 1kΩ)
157 dB (@ 1% THD into 1kΩ) with pad at maximum
• Signal/Noise: 84 dB (per IEC651, IEC268-15)
• Power Requirements: Phantom P48 or P24 Volts.
Polar Responses
Cardioid Omni Fig. 8
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Features
• New Australian designed and manufactured 1” edge terminated, gold
sputtered, dual 5 uM diaphragm.
• Continuously variable polar patterns. From omni, through cardioid to
figure of eight, controlled at the mic.
• Continuously variable pad.
• Continuously variable high-pass filter.
• Ultra low noise, transformerless SMT circuitry.
• Wide dynamic range.
• High strength welded and heat-treated steel mesh head.
• Durable satin nickel finish.
• Internal capsule shock mounting.
• Supplied complete with ʻSM2 Shock Mountʼ and RC1 Custom Carry
Case.
• Designed and manufactured in Sydney, Australia.
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Accessories:
RC1 Custom Carry Case SM2 Shock Mount
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Vocals
We strongly suggest the use of a ʻpop-filterʼ for ALL vocal recording. Plosives
(ʻPʼs, ʻBʼs and ʻCʼs) can produce a sudden jet of air, which can cause the
capsule to ʻbottom outʼ (overload) and produce a ʻpoppingʼ sound. Pop filters
help to prevent the effects of plosives. Moisture on the capsule can cause
problems for condenser microphones but the use of a pop filter reduces
that risk.
Placement of the microphone and pop filter are important and depend on
the volume and style of the vocalist. The best position will be determined
only by experiment, but the graphic above may be considered a reasonable
starting position.
The ʻproximity effectʼ is experienced when close to the microphone and
that is evident with an apparent increase in the lower (bass) frequencies.
Proper microphone technique can enable good use to be made of this effect.
E.g. Intimate, or low-volume phrases can be recorded ʻwithin proximityʼ
(closer to the microphone), and louder sections of the performance will be
presented from a greater distance. This ʻmicrophone controlʼ is of utmost
importance when wishing to give expression to a vocal recording.
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Piano
To record a piano using a single microphone (see above), that microphone
should be placed approximately 60cm (or 2ʼ) 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 NT2000ʼs should be
angled at 90-110 degrees 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 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.
Single
microphone
technique
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Drums
There are various ways to record drum kits.
Single microphone ʻoverheadʼ, two microphones overhead (eg X/Y or
spaced) and multiple microphones used close to individual drums & cymbals
(i.e. close micʼing):
To record a kit with a single microphone, we suggest that you begin by
placing the micʼ 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 micʼs would probably be equidistant from the snare drum.
To record a kit using the X/Y stereo technique, two closely matched (similar)
microphones should be placed (as above in the single microphone position)
with the front of each microphone pointing down, and each at 90-110
degrees to each other.
NT2000
facing down
towards
drum kit
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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 ʻfinelyʼ tune the desired
response. This desired response will depend on the instrument, the style of
playing and the sound aspired to.
1. The NT2000 should be mounted in the SM2 shock
mount (Photo 1) which must then be screwed firmly
onto a stable microphone stand.
Connect the plug of a microphone cable (Photo 2)
firmly and securely to the microphone socket
2. We strongly suggest you use a high quality
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. The gold dot indicates the front of the
microphone.
There are an infinite number of polar pattern, hi-pass filter and pad
settings available on the NT2000. These settings offer ultimate control
unlike any other studio microphone available today.
4. Select the preferred polar pattern. The top circular dial on the front of
the microphone controls this. (The most common position for regular
vocal recording is cardioid – dial set to the 12 oʼclock position). When the
cardioid position is selected, the microphone picks up sound from the
front of the microphone and rejects sound from the rear.
Photo 1
Photo 2
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5. When in the omni position (fully anti-clockwise) the microphone picks
up sound from all around the microphone and there is less proximity
effect. (This is an increase in lower frequencies (bass) when the sound
source is ʻcloserʼ to the microphone). The omni pattern is commonly used
for room micʼing or to record a more natural sound when close micʼing
instruments.
6. When in the figure-of-eight position (fully clockwise), the microphone
picks up sound from the front and rear, while rejecting sound from the
other two 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.
7. You are able to select any position between these three main ʻpolar
patternʼ settings. For example, if you choose a setting about half way
between the omni and cardioid position, you will notice some sound
being picked up from the rear of the microphone instead of being almost
completely rejected. This can be particularly useful when you require only
some sound to be picked up from the rear of the mic but not as much
sound from the rear as is present in the omni position.
8. Experiment with the microphone; listen to the various pattern, pad and
filter settings and decide what suits your current application best. Allow
several seconds for the microphone to stabilize to hear a noticeable
difference when adjusting the controls.
You wonʼt damage the microphone no matter which setting you have the
three controls in, so go ahead, and try any combination!
The Pad
9. This reduces the input level to the microphones inbuilt 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 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.
(NOTE: -3dB reduces the level by 50%)
The pad is useful when recording loud sound sources (such as
close-micʼing drums or amplifiers) to avoid overloading the microphones
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