RØDE NT2-A Versatile Large-diaphragm Condenser Microphone with Switchable Polar Pattern, Pad and High-pass Filter for Vocal and Instrument Recording

Product Information

The Rode NT2-A is a large-diaphragm condenser microphone released in 2010. This microphone is an upgrade on the Rode NT2, released in 1992, which was marketed upon release as a technological upgrade to previous microphones while remaining true to the tones of microphones of the ’50s and ’60s. The NT2-A offers a frequency range of 20Hz – 20kHz, and a dynamic response of 140dB meaning it is more than capable of capturing natural and clear sounding vocals in a podcasting scenario.

If an item can not be repaired, a similar alternative product or cash discount (as defined in this policy) will be offered The NT2-A is an all-round winner that's versatile enough to take on the innumerable miking tasks that the world presents." Audio Technology FeaturesAs mentioned earlier, RØDE markets this microphone as “Evoking the silky smooth character of the legendary microphones of the 50s and 60s”. The way they emulate this “silky smooth” tone is through the voicing of the transient and frequency response.

I also cut slightly at 500Hz as my tests were conducted facing a noisy window, therefore I recorded close to the mic to maximize signal level and minimize noise by using less gain. This left me with a bit too much warmth in the mids due to the frequency response peak. It offers 3 polar patterns (cardioid, figure of 8, and omnidirectional), and the option of a high pass filter either at 40Hz, or 80Hz. The microphone also has a toggle for its inbuilt passive attenuation device, which serves as overload protection when recording loud audio. It is honest enough to fit snugly into various specific areas where its undeniable high-mid lift is a pronounced advantage.Collection and delivery costs are included for the first 2 years in the event of an item becoming faulty The mic’s pad and HPF features are built on a small round PCB with the switches. The image at right identifies the capsule wire connection points. Cardioid provides you with a tight-focused sound. This is brilliant for when you're working in a busy environment, minimising the risk of unwanted noise and ambiences. Figure 8 is a great option for when you're recording multiple voices, capturing audio from the front and rear only. Omnidirectional mode provides a wholly natural sound, capturing every nuance of the space you're recording in. This is also brilliant for reducing proximity effect when close-mic'ing a source.

You should get an instant answer on whether your application has been successful, though in some rare cases Klarna or V12 may need to look at the application in more detail.My SM58 gets a little noisy when I drive it hard to get a decent vocal level and I was really looking for something to give me an equivalent sound but with less noise. Also something that I could use to record the acoustic guitar which would let me push the levels when recording. El NT2-A es un micrófono de condensador de estudio de diafragma grande muy versátil diseñado para ofrecer calidad de audio totalmente nítida y flexibilidad en la misma medida. Con una atenuación de tres posiciones (0 dB, –5 dB, –10 dB), filtro de paso alto (plano, 40 Hz, 80 Hz) y control de patrón polar (cardioide, omnidireccional, figura de 8), puede adaptarse de forma sencilla a cualquier situación de grabación en el estudio. El NT2-A dispone de una cápsula de condensador cardioide doble de 1 pulgada con pulverización de oro, con soporte antivibraciones interno, y proporciona un ruido propio ultrabajo y respuesta en toda la gama de frecuencias, evocando el carácter suave y sedoso de los legendarios micrófonos de los años 50 y 60. Características principales:• Micrófono de condensador de estudio de gran diafragma multipatrón. While many companies are building mics in China, or simply importing standard Chinese models badged with their company names, Rode can honestly say that they've been there and done that — and moved on. They were probably the first successful mic company to use Chinese manufacturing, but over the past couple of years they've finished moving all their manufacturing to Australia, where state-of-the-art automated machines and circuit-board assembly devices have taken over from cheap labour. Even parts of the capsule manufacture traditionally done by hand are carried out using high-precision machines. Doing things this way means you have to sell a lot of mics to make the sums add up, but Rode have gained a strong reputation for building high-quality mics at medium to low prices, so that doesn't seem to be a problem for them. From NT2 To NT2A A switch on the mic body enabled either a high-pass filter, or a -10dB pad, or neither. The HPF is reportedly noisy, due to the way it is implemented.

Pictured at right is what we believe to be one of the first generation Rode NT2 microphones. Note the output transformer. We believe this microphone was designed by Rode prior to 1995. It has been described by Jim Williams as having been based on the U87 circuit. Jim’s revised NT2 design used a transformerless circuit based on the Schoeps design.

Specifications

The specs for the mic changed over its lifetime; for example, the self-noise ranged from “<14dBA” to 17dBA. Max SPL ranged from 130 dB to 135 dB (or 145 with the pad). Whether these changes were due to circuitry improvements or test methodology changes is unknown. These two factors complement one another, with the peak at 10kHz being justified when factoring in the slow transient response dulling any potential harshness. So, onto the review. The NT2A does exactly what I wanted. My vocals sound great with this mic. I’m guessing that it boosts a little to give some presence and so it’s not dead flat, but it’s a very musical sound. It’s also very very quiet and does not introduce any noise into the recording. I can really crank the gain and record at a distance from the mic and there is no hiss at all which makes it very easy to use. MY aim in buying this was to get something that I would not need to upgrade, and I think I have succeeded. I don’t think I’m going to need to change this unless I win the lottery and equipment envy gets the better of me. This is a great one for both vocals and guitar. It is very sensitive (like all high quality large d. mics) so there is a certain need of room acoustic treatment, unless you already own a studio. There is another way though, I have used EQ Acoustics Classic Wedge 30 to absorb reflections in my self made vocal booth (its similar to closet with open doors). It is amazing how versatile this microphone is. I hook it up to my Steinberg UR44 audio interface , switch the phantom power on, and it is ready to record speech, singing, rapping, acoustic guitar, bass guitar from an amp, cajon, darbuka, various noises, or even low volume ambient sounds.