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. 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. I started with a high pass filter at 80Hz, to remove rumble (I recorded using the default flat response mode), and a low pass at just over 10kHz to remove any unwanted highs.

It is difficult to describe the sound of the NT2A because, subjectively at any rate, it is very neutral, with a smooth tonal balance right across the spectrum. In cardioid mode it sounds detailed at the top end without being harsh, and the lower end of the vocal range comes over as solid and well-focused with the required degree of depth and authority. Clearly the broad, subtle presence peak helps bring out the detail without allowing the sound to become aggressive, but the use of the sweet-sounding K2 capsule must also contribute a lot to the sound of this mic. Like the best classic large-diaphragm mics, the NT2A gently assists the natural sound, but not in a way that makes itself obvious. The dual‑pressure gradient capsule is around 25mm in diameter, and utilises the familiar gold‑plated membrane. Unusually for a relatively low‑cost mic, the circuitry is transformerless, which helps to maintain the mic's fast transient response (see below). It's also evident that the designers are audiophiles, as each component has been selected not only on the basis of its electrical properties, but also for the best subjective sound. On top of this, the internal connectors (and the output XLR pins) are gold‑plated and coated with an antioxidant, and even the printed circuit boards are coated with Conformal, which I'm told protects against corrosion. The Rode NT2 was a large-diaphragm FET condenser. The most common version of the NT2 used a transformerless circuit adapted from the Schoeps design by Jim Williams, The NT1 and NT2 were companion microphones with similar circuits and similar sound; the primary difference was that the NT2 had an Omni/Cardioid polar pattern switch. As a high-quality, dual-diaphragm condenser, the Rode NT2-A is able to give you the maximum flexibility in terms of recording. It’s designed to have an incredibly low noise performance, and its many features offer the control and versatility that other mics may struggle with. Its high pass filters and pad are all incorporated into the body, allowing for easy, convenient switching at the mic.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.

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. As 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.a dust cover bag which comes really handy (I can leave the microphone on its stand and just put the cover on it) 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. At the heart of the NT2-A is the Australian designed and manufactured HF1 dual diaphragm capsule. The frequency and transient response of this transducer has been voiced to complement today's modern recording techniques, and yet still evoke the silky smooth character of the legendary microphones of the 50's and 60's. These features provide the flexibility and superlative audio characteristics that make the NT2-A one of the most versatile condenser mics available. Specifications I'd always thought of the Australians as being proudly original — so why have they styled this mic after Neumann's U87? I know there are only so many shapes you can make a mic, but to copy somebody else's cosmetics so blatantly is almost like shouting out loud that you're producing a cheap copy. However, having taken the mic apart, I have to say that it's very nicely put together, and the satin chrome casework is quite solid; the whole thing weighs 530 grammes.

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. The frequency response also plays a part in sound characteristics, such as the peak at 500Hz warming the mids. At 5kHz there is a peak which increases sibilance in vocal recording and at 10kHz the air of the sound is boosted. 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 The Rode NT2-A is a prime example of Rode mics going bigger and better, and not just in price. When compared with popular offerings like the Rode NT1-A, the Rode NT 2 A has increased versatility with its three polar patterns (cardioid, figure-of-eight, and omnidirectional), allowing you to use it in more recording situations. It also comes with a three-position variable high-pass filter (Flat, 40Hz, or 80Hz), as well as a three-position pad (0dB, -5dB, -10dB). The Rode NT2-A is the only microphone you'll ever need. You’re guaranteed total flexibility thanks to the inclusion of three polar patterns. Each one provides the ideal choice for recording vocals, instruments, strings, percussion, and so much more.The figure-of-eight position has nominally the same tonality as the cardioid pattern, but switching to omni allows more of the room sound to contribute, so in most cases the tonality will change according to the character of the room you're working in. As expected, the omni pattern sounds slightly more open, but in cardioid mode the NT2A's design is still pretty airy, whereas some cardioids can sound noticeably congested.

Where the NT2-A beats the SM7B is in its self-noise. Being a dynamic microphone, requires much more gain to achieve a signal like that of the NT2-A, meaning there must a careful consideration of preamps or gain boosters. To read more on condensers vs dynamics see our head-to-head. Preamp Combos The sound of Rode NT2-A is similar to 900 EUR+ Neumann models, although high freqs slightly lie to achieve that. But that lie is not that obvious as in case of Rode NT1-A. AT4040 high freq. seem to sound "true", but the "lie" of Rode NT2-A makes the sound more "crystal". Anyway, both mics sound great and allow your recording to sound pro. Everything I've written so far tells you very little about how the mic works in the studio, so it's time to tell you what it sounds like. As usual, I dragged my other favourite capacitor mics out for comparison, and conducted extensive tests with vocals and acoustic guitar, as well as other miscellaneous sounds, including bells and an assortment of percussion. The NT2 seemed a little more sensitive than my other large‑diaphragm models, and the transformerless design certainly translated into a more detailed sound at the high‑frequency end of the spectrum. This was particularly evident on the steel‑strung acoustic guitar, bells and percussion, and on vocals, although here, fortunately, the tendency towards sibilance seemed no worse than my other mics. If anything, the open top end overshadows the warmth of the low end slightly, but working closer to the mic brings the proximity effect into play, and really firms up the bass end, giving a very intimate yet assertive sound. 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 Features

Specifications

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. These two factors complement one another, with the peak at 10kHz being justified when factoring in the slow transient response dulling any potential harshness.