Support and Service
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.
Frequently Asked Questions
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For direct information and technical support questions contact:
In Australia:
ozsupport@rodemic.com
or call (02) 9648 5855
In United States and Puerto Rico:
usasupport@rodemic.com
or call (805) 566-7777
between 12:30PM and 4:00PM PST
International:
Click here to find your local service agent
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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.
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