Monitor mix control

• The Monitor mix control (the top knob) is used to ‘mix’ between the direct microphone signal (your voice for example) and the sound from your audio recording software on your computer / device (the music that you are singing along to). By turning the knob counter-clockwise, you will hear more of the direct microphone signal, and less of the signal coming from the computer / device software. If you turn the knob clockwise, you will hear more of the computer/device signal, and less of the direct microphone signal.
• We recommend always beginning with the knob in the centre position. This will ensure that you are hearing an equal balance of both the direct signal, and the computer / device signal, enabling you to then achieve an ideal balance between the signals.

Headphone volume control

• The headphone volume control (the bottom knob) allows you to control the volume of the playback through headphones connected to the NT-USB via the headphone jack.

Recording vocals

• We strongly recommend using the supplied pop shield for all vocal recording. This aids in minimising plosive sounds (hard ‘P’, ‘B’, ‘T’ and ‘K’ sounds) that produce a sudden jet of air which can cause the capsule to overload and produce a ‘popping’ sound. Any moisture on the microphone capsule can cause problems for a condenser microphone such as the NT-USB, however the use of the pop shield will reduce the risk of this occurring.
• Placement of the microphone and relative to the vocalist may be varied on several factors including room acoustics, the vocal performance, and whether the vocalist has a high or deep voice. An ideal reference is to begin with the NT-USB with the pop shield attached, mounted directly in front of the vocalist, approximately 15cm (6”) away. The pop shield will assist in keeping the performer at a constant minimum distance from the microphone and helps to maintain reasonable recording levels. Moving the vocalist a little closer will make the vocal sound more intimate and full, while moving the vocalist back will give the vocal a little more ‘air’ or room sound, and will reduce the proximity effect (increased bass or low frequency response when the sound source is very close)
• Experimentation should be made with the angle from which the microphone is addressed, as different results can be achieved when the vocalist is ‘off-axis’ to the microphone (and the gold dot).