RODE M5 Compact Cardioid Condenser Microphones Instruction Manual
- June 13, 2024
- Rode
Table of Contents
M5
Compact 1/2”
Cardioid Condenser
Microphones INSTRUCTION MANUAL
www.rodemic.com/m5
Introduction
The M5 is a studio quality half-inch condenser microphone, designed for highly
detailed sound reproduction. It features a cardioid polar pattern and end
address design, meaning that it will pick up sound directed into the end of
the microphone, and reject sound from the rear of the mic.
This pickup pattern allows for recording of the desired sound source while
reducing the level of other surrounding instruments, noises or sound sources.
The M5 is not only ideal for recording music, but is a fantastic microphone
for environmental recordings and indoor dialogue on fi lm sets.
The enclosed pair has been hand-picked by RØDE’s audio engineering team to be
acoustically matched to ensure perfect compatibility when used in stereo confi
gurations.
Features
- ½” capsule with gold-plated membrane
- Cardioid polar pattern
- All metal body
- Ultra-low noise transformerless circuitry
- State-of-the-art surface mount electronics
- Heavy-duty matte black fi nish
- Gold plated output connectors
- Designed & manufactured in Australia
- Free 10 year extended warranty when you register online at www.rodemic.com/warranty
Warranty
The M5 is covered by a limited warranty for one (1) year from the date of purchase. This can be extended free of charge to a full ten (10) year warranty by registering your microphone online at visiting our website as below.
Register your M5 pair now and
validate your free 10 year warranty.
Scan the QR code with a smartphone, or visit
www.rodemic.com/warranty
Specifications
Polar Response
Frequency Response
Specifications
| Acoustic Principle | Pressure Gradient |
|---|---|
| Active Electronics | JFET impedance converter with bipolar output buffer |
| Directional Pattern | Cardioid |
| Frequency Range | 20Hz ~ 20kHz |
| Output Impedence | 200Ω |
| Equivalent Noise | 19 dBA SPL (as per IEC651) |
| Maximum Output | +13.5 dBu (1KHz, 1% THD into 1K Ω load) |
| Sensitivity | 34 dB re 1V/Pa |
(10.46mV @ 94dB SPL) ± 2dB @ 1kHz
Dynamic Range| 121 dB SPL
Maximum SPL| 140 dB SPL
Signal / Noise| 75 dBA SPL (as per IEC651)
Power Requirements| 24V phantom power
48V phantom power
Output Connection| 3 Pin XLR
Balanced output between pin 2 (+), pin 3 (-) and pin 1 (ground)
Net Weight| 80g
Accessories| RM5 mic clip (x2)
WS5 windshield (x2)
Powering the M5
Connect all cables before supplying phantom power to the microphone(s)
and never remove the microphone cable while the power is connected.
The M5 requires 48V DC (P48) or 24V DC (P24) 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 under warranty.
What is Phantom Power?
All condenser microphones require a power source to operate the internal
circuitry of the microphone.
Phantom power is a DC voltage, supplied to the microphone through the XLR
cable, providing the microphone circuit with the power it requires to operate,
without the need for an external microphone power supply.
Most mixing desks, audio interfaces, and preamp units have a phantom power
switch inbuilt. If your equipment doesn’t have a phantom power supply, an
external one can be purchased and used in-line between the preamp and the M5.
Be sure to check that your phantom power supply is either P48 (48V DC) or P24
(24V DC) to operate the correctly.
Mounting the M5
The M5 matched pair is supplied with a pair of RM5 stand mounts.
These feature a standard 5/8” thread in the base and a 3/8” thread adaptor is
supplied to provide even greater versatility in mounting.
To mount the M5 in the RM5 place the base of the microphone at the back of the
mount and fi rmly push down towards the front until the microphone clicks into
the mount.
The tension of the RM5 can be adjusted using the lever on the side of the
mount.
General Operation
The M5 is an ‘end-address’ microphone, and so the mesh head should always be
facing towards the sound source that you wish to record.
When recording any sound source, whether it be vocals, instruments or anything
else, always spend time experimenting with mic placement to ensure you are
picking up the best possible sound. Adjust the microphone position as many
times as you need to achieve this, rather than attempting to compensate with
EQ and other processing tools later on.
If you are recording through an interface, channel strip or mixing desk with
an inbuilt EQ section, always begin by setting the EQ flat (no cut or boost) or
turn it off if possible. Once the preferred sound has been achieved through
mic placement, any processing such as EQ, compression, reverb and other
effects can be added to enhance the sound of your recording.
EQ is always best used sparingly, and when attempting to change the sound of a
recording in any way you should always start by ‘cutting’ any unwanted
frequencies, rather than boosting the other frequencies.
General Operation
As with other aspects of the recording process, fi nding the right sound is always a matter of experimentation, and you should always go with whatever sounds best to you. Listen with your ears, not with your eyes!
Microphone Placement
Whether using them as a single microphone or stereo pair, there are no set rules when it comes to placement for your M5 microphones, but the tips below are a great starting point to achieve great results in most scenarios. Don’t be afraid to experiment with your own mic placements to produce the sound that you’d like to pick up with your M5.
Scan the code with your smartphone or
visit rockro.de/m5stereo to watch a video showing
stereo applications for the M5
Stereo spaced pair
To mount your M5 microphones in a spaced pair confi guration, you’ll need to
place your microphones on two separate microphone stands. It is best to
experiment with the exact positioning and direction of the microphones while
listening to the signal, to ensure phase compatibility.
The Spaced pair is ideal for recording sound sources or instruments that cover
a wider area, or require more than one point-source to pick up a true
representation of the sound.
It will generally produce a very wide stereo image, and is great for recording
sound sources such as choirs and ensembles, but can also produce incredible
results on individual instruments when used correctly.
Stereo X-Y
To mount your M5 pair in X/Y confi guration, place the microphones either on a
stereo bar, or on two separate microphone stands. The microphones should be
placed at 90º to one another (right angle) with the capsules stacked above
each other vertically.
X/Y configuration is a coincident stereo technique that can be used to pick up
sound sources in stereo with maximum phase coherency, meaning that the sounds
you record will not only sound great in stereo, but they will also sound great
when played back in mono.
This is achieved by having the capsules placed right above one another, as
close as possible on the vertical axis, so that sound reaches both capsules at
the same time. While X/Y confi guration is great for mono compatibility and
ease of use, the stereo image will not be as wide as other techniques such as
ORTF or a spaced pair confi guration.
Stereo ORTF
To mount your M5 pair in ORTF confi guration, place the microphones either on a
stereo bar, or on two separate microphone stands. The microphones should be
placed at 110º to one another with the capsules 17cm apart and facing outward.
The ORTF technique was devised around 1960 by a French broadcast station, the
Offi ce de Radiodiffusion Télévision Française, and was originally designed to
mimic the response of human hearing.
The increased distance between the capsules will produce a wider stereo image
than coincident stereo miking techniques like X/Y or Mid-side. 
Safety and maintenance
After use the M5(s) should be removed from its mount, wiped with a dry, soft
cloth and placed into storage.
Be sure to place the moisture-absorbent crystals (supplied) at the head of the
microphone when in storage, 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.
Support
If you experience any problem, or have any questions regarding your RØDE
microphone, fi rst contact the dealer who sold it to you.
If the microphone requires a factory authorised service, return will be
organised by that dealer.
We have an extensive distributor/dealer network, but if you have difficulty
getting the advice or assistance you require, please do not hesitate to
contact us directly.
Alternatively please visit
www.rodemic.com/support for contact details
and a list of Frequently Asked Questions.
Importers & distributors
For a full list of international importers and distributors, visit our website
at www.rodemic.com/distributors.
Contact
International
107 Carnarvon Street
Silverwater NSW 2128 Australia
USA
2745 N Raymond Ave
Signal Hill CA 90755
USA
PO Box 91028
Long Beach CA 90809-1028
USA
Documents / Resources
| RODE
M5 Compact Cardioid Condenser
Microphones
[pdf] Instruction Manual
M5, M5 Compact Cardioid Condenser Microphones, Compact Cardioid Condenser
Microphones, Cardioid Condenser Microphones, Condenser Microphones,
Microphones
---|---
References
Read User Manual Online (PDF format)
Read User Manual Online (PDF format) >>