It’s part of what made the U87 a classic in the first place — it just works, a lot of the time. Transformerless JFET circuitry is used to amplify the signal from the capsule, and the circuit board employs surfacemount components. One Synth Challenge V - The Filter Strikes Back! When you buy products through links across our site, we may earn an affiliate commission. All rights reserved. Ever since the NT2, Rode have been stirring up the mic market, and their range now includes a variety of respectable valve and solid-state models priced for the project studio owner. Dismantling the mic reveals a very tidy surfacemount circuit board with the Rode manufacturing logo, while the internal standard of metalwork finish is also good. From a practical viewpoint, the NT1A is a little lighter than many of its contemporaries, which makes mic-stand sag less of a problem, and the very low noise means it won't struggle when recording quieter instruments or when working at a moderate distance from the sound source. The sound quality is absolutely fantastic.. Why does Liam Gallagher's vocals sound shit? The views expressed are those of the contributors and not necessarily those of the publishers. 1. There's certainly nothing budget or second class about the sound of this microphone, and where you do need to emulate the somewhat warmer, more middly sound of the original NT1, a little high-end EQ cut gets you pretty close. The new NT1 is one of the better sounding condensers at its price point. The JFET preamp, which makes use of surfacemount technology, is extremely quiet, with just 7dBA equivalent input noise, and the mic's frequency graph shows a full 20Hz-20kHz frequency range with a gentle presence peak at around 12kHz. There's nothing thin or edgy about the sound and, because there's no excessive inherent coloration, they respond well to EQ — you're not constantly trying to fight the mic's in-built character. The lack of any heavy-handed presence boost makes the sound well suited for use with a range of singers and vocal styles and makes it's also easy to fine-tune using modest amounts of EQ. However, I suspect most users will buy the NT1A predominantly for use as a vocal mic, where it delivers a very modern sound, balancing transparency and airiness with a supportive lower mid-range. The mic is very solidly built and chunky, with a machined all-metal body finished in satin nickel plate. It has a fairly flat frequency response whith just some rounded cuts at 20-30Hz and 16k-20kHz. At the same time, the high end is as open and detailed as you could wish for, so if you like a vocal sound with a modern breathy quality, you can achieve it using little or no EQ. The mic can run from 24-48V phantom power. The NT1 is a great mic, and not just for the money. Like the original NT1, the NT1A is a cardioid-pattern, large-diaphragm capacitor mic with a gold-sputtered one-inch diaphragm. Too close as mentioned in the post above could possibly 'muddy' things up. The Rode NT1A.Photo: Mark EwingDespite the similarities with its precursor, the NT1A is no minor update — the circuitry is completely new, and the capsule has a much-extended frequency response compared with the original, giving it full 20Hz-20kHz coverage. Fully variable polar-pattern, roll-off and pad controls. The response is also flatter than that of most large-diaphragm mics, as the presence peak is less pronounced and quite broad, but there's also a hint of low-end lift at around 120Hz, which gives the mic a very subtle 'smile EQ' characteristic, the practical outcome of which is that the sound is mildly flattering but still very natural sounding. This 'continuously variable' theme also carries over to the pad knob, which goes from zero to 10dB of cut. Web site designed & maintained by PB Associates & SOS. Evaluating AD/DA loops by means of Audio Diffmaker. It’s voiced with less emphasis all-round, which makes it a great all-purpose mic. The maximum SPL is 137dB, which is about as good as it gets for a capacitor mic with no pad switch, and the NT1A will work on 24-48V phantom power. There are no pad or low-cut switches on the mic body, as this is the baby of the Rode range, but it's also amongst the quietest mics I've ever used, with an equivalent input noise of just 5dB, which translates to a signal-to-noise ratio of 88dB. Rode NT1-A sounds muddy/unclear/distorted to me. How can I find the sweet spot where it sounds clear, crisp and cut-through? The Rode NT1 provides a unique sound; with bright highs, solids mids, and warm lows, it covers the whole spectrum and sounds very natural. PreSonus StudioLive 32SC Series III Mixing Console. Where's the sweet spot? However, the manual does include a blank settings page you can photocopy to write down your custom settings. You may login with either your assigned username or your e-mail address. My only two complaints both come from the new SMR shock mount. Of course many people buy large-diaphragm mics because of their character, and some models have much more of a 'sound' than others. The NT1A may have an entry-level price, but it's performance is anything but entry level. The sweet spot...... with my small collection of mics I'd have to say most all are different as to where the 'sweet spot' might be and it's pretty much experimenting until you find it for your particular mic and voice. With the pad switched out, the maximum SPL is an impressive 147dB, increasing to a massive 157dB with the pad in. He may be talking about the old NT1, since they're the same name it confuses people. We can also see that the mid-highs are slightly more exaggerated in … It is supplied in a cardboard box rather than a fancy case, and looks less macho than some of its competitors, but it comes with a good metal shockmount and a soft zip-up storage pouch. The Rode NT1 is the newer and updated version of the famous NT1-A which was released almost 14 years prior.. It’s been completely redesigned from the ground up and the only component both of these microphones share is the mesh grille. In cardioid mode there's also a lesser secondary presence lift at around 5kHz and, where the low end needs to be rolled off to compensate for the proximity effect (which affects cardioid and figure-of-eight patterns only), the centre knob is used to adjust the low-cut turnover frequency from 20Hz (effectively bypassed) to 150Hz. The capsule is protected and shielded by the usual dual mesh structure, and the capsule itself is shockmounted to further improve the isolation from stand-borne vibrations. By comparison, many large-diaphragm mics have a signal-to-noise ratio of between 75-80dB. Of the more well known vocal microphones, the one that "ducks" (avoids) bad room tone the most IME is (drum roll please. To me, these new Rode designs are characterised by a very open and detailed high end, which is nevertheless properly balanced by the low end. Is this a common issue or am I doing something wrong? May lack the 'pose value' of some of the more chunky-looking capacitor mics. Despite its low cost, the NT1A delivers professional performance, both for vocal recording and for general instrument use. There's no mistaking the NT2000 — its distinctive three-dial control panel is quite unlike anything else on the market! It's been a while since the last time I reviewed anything from Rode — I looked at the NT4 and NT5 back in August 2002 — so when the NT2000 and NT1A turned up for review I was keen to see how their technology had advanced. But this is no slavish emulation, Rode has managed to capture that essence of a real workhorse with the NT1. This means that voices or sounds with a lower pitch or tone, such as rap vocals, will sound deeper and fuller with the Rode NT1A vs NT1. I have a Rode - NT1 Mic. Win! Re: One Synth Challenge V - The Filter Strikes Back! First Look: Pro Tools | Carbon. It is supplied in a cardboard box rather than a fancy case, and looks less macho than some of its competitors, but it comes with a good metal shockmount and a … I tested both these mics side by side and found that the sound in cardioid mode was quite similar — there was a wonderful sense of high-end detail, but without the sound becoming thin or harsh.
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