Studio Sound

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Rode NT1000

Latest from the Rode microphone stable, this solid cardioid condenser is a worthy addition. Dave Foister feels its presence
WHEN RODE STARTED OUT it looked as though the company had every intention of sticking with the one idea for as long as possible, enjoying its deserved success. More recently we've seen a sharp upturn in the new products curve from Rode, with specialised models of various kinds and significant upgrades on established models. Now we have two new models alongside each other, cosmetically similar but technically very different. One is a new twist on the valve theme; here we're looking at a much simpler straightforward solidstate condenser model, the NT1000. Bad luck Microsoft, you'll have to think of a new name when the fixes, sorry upgrades, get that far. Rode has apparently employed an image consultant. Gone are the plain functional boxes that the microphones used to be supplied in; in their place are fancy colour printed boxes announcing the microphones to be Recording Artistes and depicting them mounted in a picture frame against a painted backdrop. I only hope we're not paying too much for them, as they're almost certainly going to find themselves in the bin within minutes of the microphone being unpacked. Inside, in the case of the NT1000, is the microphone, a stand mount and a soft carrying pouch, complete with a little bag of silica gel for drying--always worth keeping with the microphone in my view. Rode has cleverly decided to settle on a standard system for mounting its microphones on to stands, so that the same mounts can be supplied with every model. Part of what constitutes the difference between the expensive models and the less expensive ones is whether or not you get both types supplied as standard. The NT1000 comes with just the simple one, a ring that attaches to the base of the microphone body by means of a big knurled nut, with a swivel locked with a substantial handle. And there's a thread adaptor--why can't they all give you one? The SM2 suspension mount, supplied as part of the package with the big valve microphones, is an optional extra here, and if it's man enough to support the Classic II it clearly won't have any problems with the NT1000, even at nearly 700g in weight. On the other hand, the capsule already has shock mounting fitted internally so should be reasonably immune to being knocked about without having to buy the SM2. There's no windshield, not even as an optional extra. The specifications make interesting reading. Although the instructions don't trumpet it, Rode is proud of the noise figure, which is an impressive 6dB SPL. At the other end it can handle over 140dB SPL at 1% THD, giving a dynamic range of 134dB. Its frequency response is clearly intended to have a character rather than to make the NT1000 a neutral all-purpose unit; a smooth low and mid spectrum gives way to all kinds of lumps and bumps at the top end from 2kHz upwards, with a peak at 12kHz no less than 6dB up. It's 4dB up at 5k, so it's clearly meant to have a strong presence, although the drop off back to 0dB at 20kHz should avoid harshness. Operationally it's the simplest configuration possible: a fixed cardioid polar pattern, and no filters or pads at all. Cosmetically this results in a very sleek appearance, with the make and model quite modestly displayed on a black band around the bottom of a satin nickel body. The front is identified in traditional Rode fashion by a gold dot below the grille, and the grille itself is clearly pretty heavy duty. On some Rodes the grille is a bit coarse, but here it's smooth and close-woven--the spec says it's welded and heattreated. Overall the impression is of a solidly-built, elegant microphone in the classic tradition. The sound the NT1000 produces bears out what both its appearance and the specifications would suggest. This is a highly capable and versatile sound, which is smooth enough to be used for a wide range of applications but with the kind of presence emphasis that seems to be Rode's trademark. It's not hard and it's not extreme, but it definitely favours certain instruments, and makes the NT1000 a very http://www.studio-sound.com/archive/may01/r_rode.html 7/31/01

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appealing vocal microphone. It has that lift around the vocal presence region that pushes a voice forward in the mix without EQ, but it stops short of emphasising sibilance or excessive edge. This same characteristic makes it worth trying on acoustic guitar, where its other attribute, the very low noise, comes into play. This is indeed a quiet microphone, with a noise floor that lies well below 16-bit dither levels even at high gain, unlike the standard model I was using as a comparison. The flip side of the presence coin is often an apparent loss of depth, and on some sounds this starts to manifest itself here. You wouldn't want to put a pair of NT1000s up on an orchestra, but then it probably wouldn't occur to you anyway. But on most things the impression is of a very complete sound, with nothing lacking anywhere and this distinctive forwardness that can be so useful. Priced just under the original NT2, this is not a cheap microphone by today's standards, but there's nothing cheap about the way it's put together or the way it sounds. There's real quality here, coupled with a useful sonic contour that is rarely restricting and subtle enough to allow the NT1000 to become a popular all-rounder. Contact: Rode, Australia. Tel: +8765 9333. Fax: +8765 9444. HHb, UK. Tel: +8962 5000. Fax: +8962 5050.
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7/31/01

FM112.rode

29/6/01

4:15 pm

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RODE NT1000 AND NTK
How much?! Pro-level specs and sound now come at an astonishing budget price

RODE NT1000 & NTK

NT1000 & NTK Microphones Dynamic range 134dB(A-weighted) Equivalent noise 6dB SPL(A-weighted) +/-1dB Maximum SPL 140dB Signal to noise 88dB (A-weighted) Dynamic range 147DB(A-weighted) Equivalent noise 12dB SPL(A-weighted) +/-1dB Maximum SPL: 158dB SPL Contact HHB Communications: 5000 Website www.rodemicrophones. com
> All the way from Oz, two little boys are set to blow the mic market apart. Steve Evans attempts to steal them
THERE ARE A lot of budget condensers out there right now. I have been generally impressed with many of them because they have enabled impoverished creative types to make a decent sound recording. This has all changed with the arrival of the Rode NT1000, and NTK microphones. These mics have top quality specs and the kind of sound that would normally sets you back the best part of a grand. They also look the business and are damn near unbreakable. Rode has set a new standard. Its time to disregard any previous advice about microphones The NTK is a little larger and uses a valve where the NT1000 uses FETs. Apparently the FETs from the NT1000 were originally developed by the CIA. Both mics share the same transducer and basic chassis assembly and have a fixed cardioid pattern. Neither mic has a -10dB pad or a low frequency cut switch. So, no deluxe wooden presentation cases and elaborate shock-mount cradles here, then. This is evidence that all your money is being spent on a microphone, I suppose, and the flimsy packaging must be testament to the chunky construction. The NT1000 arrives in an appalling cardboard box with a stand adaptor and a black vinyl zip case. The NTK comes in a larger, appalling cardboard box with the same adaptor

459 700

NT1000 NTK
and case, plus a power supply unit and a 30 foot multi-pin connector. Despite the no-frills packaging, the mics are finished beautifully and the front of each is marked with a tasteful gold spot. Quality touch.

Detail

All I wanted to know when I first heard these microphones was how Peter Freedman and the people at Rode had managed to produce such thumping quality mics at such a low price. Ever since the arrival of the NT1, Rode has been increasingly recognised as the company that attempts to give you more microphone for your money. In this respect I would say that the NT1000 and the NTK are the definitive examples of that value for money approach.

Overview

These microphones are high quality, externally powered large diaphragm condensers intended for general studio use especially solo instruments and vocals.

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o CD TRACK 11

A song by a band called Babyfood recorded with just these two microphones (apart from the kick and snare).

ALTERNATIVELY

NT1000 AKG C4000B (480) AKGs popular allrounder NTk AKG SolidTube (750) One of the cheapest valve mics previously available. AKG are distributed by Arbiter. Arbiter 1909
A lush, warm valve sound and solid bottom end
It seems that Rode has achieved this breakthrough by sticking to three basic principles: high quality components, simple design, and economy of scale. Both microphones are structurally similar and can be broken down into eight or nine sturdy component parts, which each attach to a neatly designed interior cast. Compare these innards to the hand-assembled complexities of some other mics and you begin to see how manufacturing costs can be cut. The capsule demonstrates more ingenious design work. The whole assembly is mounted on a thick black rubber diaphragm that seals off the capsule area from the rest of the mic. A block of dense foam stuck to the top of the capsule assembly allows it to be gently pushed against the rubber diaphragm when the pop-shield is pushed into place, which means no unwanted vibrations. The result is less of a need for a low frequency roll off switch. Simple and cheap! Every aspect of these mics is geared towards mass production. Rumour has it that Rode has so much faith in its new generation of mics that is has built a new

factory to turn out these little beauties by the truckload.

In use

The NTK has its own external power supply unit which has a wicked blue LED to let you know its on. The mic is connected with a special multi-pin cable. The NT1000 can be powered by the 48V phantom supply from your mixing desk or mic preamp. I plugged both mics into an Avalon
wouldnt even bother moving it and just record the piano from right across the room. The inspiring character of the mic would make for a really vibey recording. I ended up doing exactly the same with the NTK. I used it as a mono drum kit overhead, in front of a six foot bass rig, for acoustic and electric guitars, and eventually for vocals. Even though my room is a bit suspect, the results were blinding. The sound of the NTK was so revealing that I was comparing the
< Rode has achieved a breakthrough, with high quality components, simple design and economy of scale >
737 channel and marvelled at how quiet these babies are. Even the NTK with a supposedly noisier valve circuitry was only fractionally noisier than my old favourite AKG C414 B ULS. I didnt miss the LF roll-off, you can actually hold the mics and sing without a problem! Given that both mics share the same capsule, it was a groovy opportunity to compare the qualities of different amplification models transistors versus valves. The NT1000 presented itself as completely accurate: plenty of solid bottom end with a presence peak to help your vocals punch their way through a mix, while off-axis rejection is good and uncoloured. The NTK has all the accuracy and qualities of the NT1000 but it also has that luscious valve warmth that makes me want to record film trailers in a raspy, low voice. Both these fellows will fulfil the demanding role of main vocal mic with ease. They sound equally as good, if not better in some cases, as the more expensive competition. I actually blind tested the NTK against another old favourite my AT4060, Audio Tecnichas top of the range valve condenser at 1,260 on three separate sessions, with three different producers. The NTK got the gig each time. It sounds brilliant straight off. You know that the vocal will sit in the mix and be perfectly clear, but not loud. Just how I like it! Thats not to take anything away from the NT1000, though. It blows everything in its price range out of the water, and shows some far more expensive mics up completely. I would be very pleased with either one, but Id choose the NTK just for the valve vibe. The best comparison I can make with the NTK and the NT1000 is with the Neumann U87 and U67, which are three times the price. Using the NTK reminded me of my old AKG C12. This was a foot-long silver cylinder of pure sonic joy. On many sessions I would only use this mic, and move it from place to place to record each thing at a time. Sometimes I sound of different mic positions barely an inch apart. Ultimately I used the NTK for everything. And it rocked. Both mics have an extremely voluptuous set of technical specifications. The easiest one to test was the maximum sound pressure level of 140dB. I planted both mics in front of a Mesa/Boogie 15inch bass cabinet and tried to distort them. Only a B+K 4006 failed to distort, and the Rodes didnt crumble until we had truly passed the pain barrier. Owning a pair of either the NTK or the NT1000 would be awesome. If they only had switchable polar patterns. No complaints about that considering how cheap they are.

Verdict

The usual considerations involved with purchasing recording gear are financial and artistic. Financially, there is no question about whether or not you should buy these microphones. They represent astonishing value for money. The fact that they are being mass produced to be sold by the thousand means that all the dealers are undercutting each other (I have seen the NT1000 and the NTK for much less than the retail price, between you and me). They will do the job beautifully, and will be an investment that will benefit you and your recordings for years to come. If your finances are not an issue and you seek out quality and character whatever the cost, you will love these microphones. They are, remarkably, top quality, pro mics which wipe the floor with every other budget or similarly-priced condenser on the market. I could gush on and on. FM
Two world class fully combat operational condensers that you can actually afford. PLATINUM AWARD

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