If you are experiencing difficulties with your RØDE Microphone, then please read through the supplied product manual (also available under the download section for each mic) as well as the following frequently asked questions.
If you are still experiencing difficulties, please have your mic model and serial number ready before contacting your nearest RØDE service outlet.
For warranty information, or to register your microphone for a 10 year warranty, please click here.
Q: My microphone is not responding, what should I do? A: If your microphone is an NTK, K2 or Classic II then make sure the power supply is turned on.
Otherwise ensure that the Phantom power supply is turned on at your mixer. If this is not the source of your problem, then try a different mic lead, a different channel on your mixer and/or different speakers/headphones to determine whether there is a fault other than with the microphone first.
If the problem still persists then we suggest talking to the dealer that you purchased the microphone from before contacting your nearest authorized RØDE service centre.
Q: My microphone is noisier than I would expect it to be, what should I do? A: First try a different mic lead, a different channel on your mixer and/or different speakers/headphones to first determine whether the fault is due to a component other than the microphone.
If the problem persists then we suggest talking to the dealer that you purchased the microphone from before contacting your nearest authorized RØDE service centre.
Q: Can I change the valve in my microphone myself? A: It is recommended to have this done by your nearest authorized RØDE service centre, however if you wish to do this yourself you must be very careful not to injure yourself. Ensure the microphone is not powered, and that you are grounded before touching any circuitry.
Q: Is my microphone covered by a service waranty? A: Our warranty covers faulty workmanship and faulty components for the original purchaser. RØDE may either repair or replace the product at their sole discretion, and the product must be returned pre-paid to your nearest authorized RØDE service centre to carry out any work.
Prior to calling a service center please read these troubleshooting tips thoroughly, as you may find a solution to your problem. We also suggest a call to the dealer who will have specialist knowledge that may help you resolve your problem quickly. If the problem persists, contact your nearest authorized RØDE service centre for an 'RA number' (return authorization code).
Please note the warranty does not cover normal wear and tear, nor the use of the product in heavily corrosive, polluted or extremely humid environments.
The warranty does not apply to products purchased from unauthorized Ebay or second-hand dealers.
Q: I've seen specialist acoustic screens that go behind the microphone. Will these improve the vocal sound? A: Screens that fit behind the microphone can help reduce the strength of sound reflections reaching the rear and side of the microphone and may also reduce the amount of the singer's voice reaching the walls, which in turn reduces the strength of the reflections. In our experience, they are most effective when used in conjunction with sound absorbers placed behind the singer rather than on their own. Some of these dedicated units are quite expensive and you can achieve as good or better with acoustic foams or other acoustically absorbent materials placed correctly.
Q: Why do I need a pop shield and which type is best? A: Sound is the result of air vibrating and a microphone converts these airborne vibrations into an electrical signal. When you sing a B, P or M sound, you not only vibrate the air but you also expel a gust of breath which, if you're working close to the microphone, slams into the diaphragm producing a very loud, very low frequency thump or pop. Placing a fine mesh between the mouth and mic lets the normal air vibrations pass relatively unaffected but breaks up the blasts of air before they reach the diaphragm. Originally engineers made their own pop filters by stretching fine nylon stocking material over a wire hoop but commercial models look better and usually have mounting hardware to attach them to your mic stand. Alternative models made from fine metal mesh or perforated metal are also available and some engineers claim they have less of an adverse effect on high frequencies than stocking nylon. For the best results, place the pop shield between two and three inches from the microphone.
Q: Is it essential to use a shock mount with a microphone when recording? A: Not always, but it does reduce the intensity of unwanted low frequency vibrations passing from the floor, through the mic stand and into the microphone. Typical vibration sources are foot tapping, kick drums on the same floor or passing traffic. Solid concrete floors tend to pose less of a problem than wooden floors, but as shock mounts are now relatively inexpensive, it makes sense to use one if you can.
Q: Is there one great sounding vocal mic that will work for everyone? A: The short answer is no! With that said, providing you pick a microphone that doesn't have a really obvious tonal character, you can usually match its characteristics to the singer to a useful degree by how you position it. For example, cardioid mics all exhibit a bass boost when used close up due to something called the proximity effect, so if your mic sounds too bright(lacking bass) with a particular singer, try getting them to work closer to the mic as this will warm up the sound. Cardioid mics also have their best high end response on axis so you can reduce the amount of high end by twisting the mic around slightly so that the singer is singing slightly into the side of the mic rather than directly into the front. Placing a thin, vertical physical obstruction right in front of the mic, such as a plastic pen, also tames the high end slightly and can even help reduce sibilance where that is a problem. Where the singer needs to achieve a brighter effect, you can use a broad EQ boost at 10 to 12kHz to add what engineers call 'gloss' or 'sheen' to the sound, but be careful with EQ. If you add to much it will sound harsh or shrill.
The real answer is that different microphones have different tonal characteristics, so the best way to achieve that perfect vocal sound is to try out the singer with a range of different microphones and then pick the one that suits them best. If you are running a home studio to produce your own music, then you can pick whatever mic works best with your own voice, but in a professional facility, it helps to have a range of different microphones available. For example, if you want to add strength and warmth to a voice without losing the vital high end detail, the NT1-A will give great results. Try the NT2-A, if you want the added versatility of variable polar patterns and filters. Of course if the budget allows, our valve(tube) mics have the special qualities only these kinds of mics can offer. Basically, you can never have too many mics, but don't be concerned if you have just one good mic as great results can be achieved if you use it correctly.
Q: I'm having problems recording my acoustic guitar. What's the best way to get a good result? A: As a rule, small diaphragm capacitor microphones give the best results though you can also get good results using a large diaphragm model if that's all you have. Avoid dynamic microphones if possible as they tend to be rather insensitive and their high frequency response isn't as good as a typical capacitor model.
Though you'll see articles in books and magazines suggesting 'standard' mic positions, these vary from instrument to instrument so the simplest way to find that 'best' position is to get the player to perform while you move the mic, at the same time monitoring the results over headphones. Avoid directing the microphone towards the sound hole as this overemphasizes the bass end of the instrument and may make it sound very boomy. Moving the mic towards the neck will produce a better tonal balance and the junction of the neck and body generally gives acceptable results, though it is also worth trying positions above the guitar pointing down or below the guitar pointing up. A typical mic distance is usually be about 30cm (12") but let your ears make the final decision.
Try to avoid room reflections by hanging blankets around the performing area unless you are lucky enough to have a great sounding room, but try recording on a hard floor rather than over a carpet as this will give you a more lively sound. If you have the option, try an omni pattern mic rather than the usual cardioid as they tend to produce a more natural sound and seem less critical of positioning. You may need to improvise further absorption behind the mic than with a cardioid model but the improvement in sound is often worth the little extra effort this involves. If the recording sounds tonally correct but too dry you can always add a little artificial reverb when you mix.
Q: I noticed that pin 1 on the XLR connector is longer than the other 2 connectors and as I have not seen this before on other microphones - why are RØDE mics like that? A: The ground XLR pin (pin 1) is designed to be slightly longer than the other two pins. This is so to ensure that when an XLR Plug is plugged into the XLR socket the first pin that comes into contact is the ground pin. This feature is implemented in all RØDE microphones to protect the microphone circuitry from static electricity shock that could potentially damage the microphone circuitry.
Q: I have what is supposed to be a matched pair, but the serial numbers aren't sequential... Is this correct? A: Matched pairs from RØDE aren't necessarily (and in almost every case aren't) sequentially serialised. The serial numbers are engraved at the end of the machining process, prior to assembly of the electronics, acoustics and quality assurance. Following these processes, a certain percentage of microphones (depending on model) are matched together to make the matched pair kits. Each matched pair is supplied with a signed and dated certificate listing the two matched serial numbers.
Q: What tubes do you use in your microphones? A:The tubes we use in our microphones have been selected to give our customers the best performance possible with our designs. Low noise, sound quality and of course long life are taken into consideration with every design and subsequent tube selection. The tubes are purchased in bulk from various manufacturers and we then subject every tube to a series of tests that start with a 'burn in' period that will result in those tubes that do not meet our high tolerances being rejected. We test for noise, microphonics and output. These tubes have a very long working life and in many cases we have found RØDE tube microphones that have been used for over 10 years that still meet full specifications.
RØDE Tube Mics
Tube (graded and selected for low noise)
RØDE NTV
ECC81
RØDE NTK
6922
RØDE K2
6922
RØDE Classic I
GE JAN 6072
RØDE Classic II
GE JAN 6072
Q: How would changing the tube in my RØDE microphone change the characteristics of my microphone, and would it be an improvement in sound quality? A: This is a complex question, which depends on many factors. The tubes we use are of very high quality and have been selected to be the optimum choice for our designs. There are many NOS (new old stock) tubes on the market that in some cases can change the tonal, noise and distortion characteristics of your microphone. While you may be happy with the result, you may also be disappointed and find the tube that came with the microphone sounds better. To find out, you will need to experiment and that can be expensive. The choice is yours if you wish to experiment.
Q: Can I change my mic's tube safely? A: This all depends on your level of technical ability.
There are very high voltages inside tube microphones, and while it may seem obvious that you should never open up an electronic apparatus while it is connected, there is a very serious risk of electric shock that is potentially fatal.
For this reason we will always recommend you take your microphone to an experienced service engineer for the tube replacement. At that time the engineer can also conduct some tests to see if the associated circuitry is providing the correct voltages to operate the tube correctly, and that everything is as it should be. Good tubes last a long time, so this won't be something you have to pay for very often.
Q: Are NOS (New Old Stock) tubes better than current production? A: That depends on the tube. It could be a low-quality old tube. Do some research on the tube sites listed below and you will start to get the idea of what is good and what is just 'smoke and mirrors'.
There is quite a lot of mythology surrounding tubes with wild claims being made. The reality is that tube technology was at its zenith in the 50's and so it stands to reason that the manufacturers of that time did have some mature technology, and so produced high-quality, high-tolerance devices.
When transistors started to take over, the demand for premium and high specification tubes started to decline to the point where none of the high end producers in the US, Germany or UK were viable and so their production ceased. Tubes continued to be made in Russia and other 'soviet block' countries, and of course China - in many instances these were for military applications. These factories have been at the forefront of the current tube supply, but it must be remembered that other than the audio industry, there is no need for tubes today and that is why the brands such as Telefunken, GE, Sylvania, Mullard etc are not in the game anymore.
How will you know what to buy? There are many web sites and vendors for NOS tubes and they supply lots of information. If you have the time, start reading and you will begin to see a pattern where certain old brands and styles keep being mentioned. That is a good guide. The prices are rising because of rarity, but modern production for certain tubes such as the ones we currently use in our microphones is certainly equal to anything from the past. It comes down to knowing how to select and test, and of course grading them accordingly.
It is fun to experiment, so go ahead, but please ensure you don't use tubes not designed for the circuit, or the results will not only disappoint, but you could damage your microphone.
Q: What is 'microphonics' in a tube? A: All tubes are microphonic to a certain degree. That means if you tap them when 'in circuit', you will hear that sound in your signal. Some are much worse than others, and can cause problems when they are modulated by vibration, or in extreme cases even by the sound you are recording!
How do you get a low-microphonic tube? Order one with that specification. It will have been tested, with many rejected from a batch. On average RØDE fail 20% of all tubes, and the ones we use are low-noise and low-microphonic.
Q: How long do tubes last? A: To answer this we must qualify the question. Power tubes in a tube power amplifier are stressed to a much greater degree than the tubes used in mic pre-amplifiers. Even so, we have seen power amplifier tubes that have been in use and 'ON' for 10 years (87,600 hrs for the pedants out there) that still have full specification emission.
Emission is a rating of the tube's output and this diminishes as the tube ages. The rated life of a GE JAN 6072 is many thousands of hours and in factoring a tube, on and off does more damage than leaving it on. As a general rule it is advised that if you are recording on any given day, turn the mic on and leave it on and just turn it off at night.
For example if you have a good tube that has a life of 4000 hrs and you record twice per week for about 6 months of every year (that would be quite a lot), then you will have a tube life of about 7-8 years!
Q: Why are some tubes noisy? A:There are many reasons for this, and they include construction of the tube, impurities inside the tube, and if the circuit has or has not been optimised for that particular production of tube.
All tubes specification and performance vary, and the printed specification of a series of tubes is a guide only to the designer, it is not definitive.
Along with this variation in production and there are also large variations from manufacturer to manufacturer.
A competent audio equipment manufacturer starts with a tube's basic specifications as a guide, and then tests the tubes they will use to optimise the circuit for those tubes, or designs their circuits to cope with a wider specification.
The best audio tubes are also selected after having been run on a 'burn in' test bed. You will pay a premium for a tube that is known for good construction, and has been graded and therefore meets a defined specification.
Q: What tube do you use in the RØDE Classic II? A:This is a NOS (New old stock) GE, JAN 6072 twin triode. This is a very rare and valuable tube and was made famous for use in the 50's iconic AKG C12 tube microphone, a gem that now commands prices up to $10,000.
The 6072 are a low-noise variant of the more commonly available 12AY7 and that tube will work as well, but the GE JAN series are renowned for their great tone and low noise.
All tubes must be graded for shot noise and microphonics. If you are to replace your mic's tube, make sure this is a 'graded' device or you may be very disappointed with the results.
It is worthwhile to note that all tubes need about 24 hours of 'burn in' (activated in the circuit) before they settle down into what will be their operating noise specifications. For that reason, if you do buy an un-graded tube, leave the microphone on for a day or so and then check to see if you are happy with the results before starting again.
Q: Where can I buy replacement tubes for my RØDE microphone? A: Replacement tubes are available for all RØDE Microphones by contacting your nearest authorised service agent.
Q: Where can I find more information on tubes? A: We recommend the following sites as a starting reference :
Q: My XLR cable is too tight/loose to fit properly? What is this blue thing in the XLR connector? A:To ensure a quality, captive connection to most styles of XLR cable connectors, all RØDE Microphones are supplied with a blue rubber padding ring inside the XLR output socket. This blue ring can simply be removed if your XLR cable connector has trouble fitting in to the socket.
For more information please see the video below
Q: Can I buy a power supply for my mic? A: NTK, K2 & Classic II mics are sold as complete units, power supplies and mics are not sold separately but as warranty items only.
