The frequency response of the mic, with no low-cut switches engaged, runs down to below 20Hz and extends to in excess of 20kHz, with a moderate presence rise above around 3kHz rolling off again above 15-16kHz. The mic is also pretty sensitive, yielding -36dB (reference 1V/Pa), and the dynamic range is an incredible 140dB with a maximum output level before clipping of some +16dBu. So far, then, the NT2A looks impressive, both mechanically and electrically, but the really important thing about any mic is how it sounds. In Use 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 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. However, the Gear4music extended warranty scheme provides an enhanced service, and is designed to offer a higher level of protection than many 'free' warranties offered by some retailers and manufacturers.

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. a dust cover bag which comes really handy (I can leave the microphone on its stand and just put the cover on it)

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. 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. 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. Being a studio-grade condenser microphone, the NT2-A is ideal for podcasting in terms of vocal clarity. Another bonus to using this microphone in a podcast scenario is the high pass filter options. By rolling off the lows at 40 or 80Hz, you can eliminate the sound of footsteps, cars, and any other unwanted domestic noises when recording in an untreated room.

As discovered in our in-depth comparison, the UR22 is the noisier of the interfaces. Putting the NT2-A through a stress test with the UR22 however, only solidified how quiet this microphone really is. At its extreme, there was an audible amount of noise. At a reasonable level, however, the noise was almost unnoticeable. 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.

Specifications

To maximize clarity when using the NT2-A, it is worth considering a reflection filter. We discuss this in full in our reflection filter test. Getting the Most with EQ 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 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. 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.

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. 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.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 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. Please note that this extended warranty is currently only available on products sold within the UK, EU or EEA, and is subject to the terms and conditions as detailed on the extended warranty certificate provided. The Rode NT2-A is the fruit of that labor, so to speak. The successor to the wildly successful Rode NT2, which was the last microphone Rode had made in China, the NT2A is a radically new approach to what made the NT2 so popular. The Rode NT2 A was designed with brand-new housing and features, making it more than just an updated mic. For a full look at what this microphone can offer, take a look at this Rode NT2A review below. 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).