RODE Microphones NT2000 Bedienungsanleitung

(EMC, LVD)

NT2000

Instruction Manual

www.rodemic.com

- 2 -

Introduction

Thank you for investing in the NT2000

seamlessly variable studio condenser microphone.

We are extremely proud of the NT2000. It is not only

the world’s ﬁrst large diaphragm condenser studio

microphone with seamlessly variable polar pattern,

ﬁlter and PAD located conveniently on the microphone

body, but it also represents the culmination of many

years of dedicated research into the art of recording

microphone technology.

I use the word ‘art’ 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.

Please take the time to visit www.rodemic.com and

While there you can view studio tips and techniques,

as well as browse the comprehensive range of

accessories for microphones.

Peter Freedman

Microphones

Sydney, Australia

- 3 -

Speciﬁcations

Acoustic

Principle:

Externally polarised 25mm (1”)

dual diaphragm condenser

Active

Electronics:

JFET impedance converter with

bipolar output buffer

Directional

Pattern:

Continuously variable

multi pattern - Omni, through

Cardioid to Figure 8

(see graphs)

Frequency

Range:

20Hz ~ 20kHz

(see graph)

Output

Impedence:

200Ω

Sensitivity: -36dB re 1V/Pa @ 1kHz

(16mV @ 94dB SPL)

±2dB @ 1kHz

Equivalent Noise: 7dBA SPL

(per IEC651)

Maximum

Output:

+15dBu

(@ 1kHz, 1% THD into 1kΩ)

Dynamic Range: 140dB (per IEC651)

Maximum SPL: 147dB

(or 157dB with maximum PAD)

(@ 1kHz, 1% THD into 1kΩ)

Signal/Noise: 87dB SPL

(@ 1kHz, rel 1Pa per IEC651)

Power

Requirement:

Phantom P48, P24

Output

Connection:

3-pin XLR, , balanced output

between pin 2 (+), 3 (-)

and pin 1 (ground)

Net Weight: 831g

- 4 -

Speciﬁcations

Frequency Response

Polar Response

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dB rel. 1V/Pa

+5.0

Frequency:

500 Hz:

1000 Hz:

4000 Hz:

–

Cardioid

CardioidFigure 8Omni

Omni

- 5 -

Features

• Large 1” (25mm) HF1 gold sputtered capsule

• Continuously variable polar pattern, from Omni to

Cardioid to Figure 8 controlled on the mic

• Continuously variable PAD and High-Pass Filter

• Ultra low noise, transformerless SMT circuitry

• Wide dynamic range

• High strength welded and heat treated

steel mesh head

• Internal shock mounting system

• Designed & manufactured in Australia

• Full 10 year guarantee*

Accessories

*Online product registration required.

SM2 shock mount

WS2 wind shield

(optional)

RC1 carry case

- 6 -

Selecting the polar pattern

• The polar pattern or ‘pick-up’ of

the microphone can be adjusted

by moving the top of the three

dials on the microphone.

• The gold dot on the face of the NT2000 indicates

the front of the microphone, and the primary pick-

up area for the cardioid pattern.

Using the PAD

• The PAD reduces the input level

to the microphone’s in-built

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 the 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,

but note that a level of -3dB reduces the level by

50%.

• The PAD is very useful when recording loud

sound sources (such as close miking of drums or

ampliﬁers) to avoid overloading the microphone’s

pre-ampliﬁer.

Using the NT2000

Polar pattern control dial

PAD control dial

- 7 -

Using the High-Pass Filter

• The High-Pass Filter controls the bass frequencies.

Sometimes referred to as a ‘bass cut’, this will

reduce the selected bass frequency and all

frequencies below that.

The HPF can be adjusted by

moving the middle of the three

dials on the microphone.

• When the dial is in the far left position there is

no reduction of the bass frequencies and so the

microphone will deliver a full response.

• When the ﬁlter is in the far right position the level

is dropped by 3dB at 150Hz and below, which is

certainly audible and will have a direct effect on

most sound sources.

• You may choose any setting between 20Hz and

150Hz to cut the level of the selected frequency

and below by 3dB.

• This control is useful for selecting the cut-off point

for potentially offending low frequencies (eg. trafﬁc

noise, ﬂoor vibrations etc). It can also used on

vocals where you may want a limited response for a

‘different’ sound.

• 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 fully anti-

clockwise then listen to the vocal sound as you

start to move the ﬁlter in the clockwise position.

Using the NT2000

HPF control dial

- 8 -

When you begin to notice the change, turn it back

to a lower frequency ‘cut off’ where you can’t hear

the difference and you will have the optimum

setting for that source. This is important as the

NT2000 features a very wide frequency response

which can pick up sounds below 20Hz.

General usage

• Connect all cables before applying power to the

microphone and never remove the microphone

cable while the power is connected.

• The NT2000 requires P48 volts or P24 volts

phantom power.

• If the mixer or preamp does not contain this

phantom power requirement, then an external

phantom power supply is needed.

• 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.

• 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.

• 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.

Using the NT2000

- 9 -

• 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 EQ and effects such as reverb

or indeed any signal processing can be used for

enhancement, but should be used sparingly.

• It is 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.

• After use the NT2000 should be removed from

its shock mount, wiped with a dry, soft cloth and

placed in its protective case.

• Be sure to place the moisture-absorbent crystals

(supplied) at the head of the microphone(s), 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.

Using the NT2000

Storing the NT2000

- 10 -

These diagrams are for you to write down any

settings you may wish to recreate at a later date.

Notes

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