RODE M5 Compact 1 2 Cardioid Condenser Microphones Instructions
- June 7, 2024
- Rode
Table of Contents
Compact 1/2”
Cardioid Condenser
Microphones
INSTRUCTION MANUAL
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
configurations.
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 finish
- 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 by 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
http://warranty.rodemic.com/m5
Specifications
Polar Response
Frequency Response
| 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 | 75 dBA SPL (as per IEC651) |
| 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 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 only 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 fl t (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.
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 yourM5 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.
http://rockro.de/m5stereo
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 duration, 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 duration, 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 confi duration 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 eaches both capsules at
the same time. While X/Y confi duration 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 duration.
Stereo ORTF
To mount your M5 pair in ORTF confi duration, 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 color.
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 first contact the dealer who sold it to ou. If the microphone
requires a factory authorized service, the return will be organized by that
dealer.
We have an extensive distributor/dealer network, but if you have a diffi culty
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
References
Read User Manual Online (PDF format)
Read User Manual Online (PDF format) >>