I'll admit that when I first heard about the NT2000, the inclusion of those extra knobs seemed a little bit "gimmicky" to me. It wasn't until I tried one out in the studio that I realized how practical they really are! In particular, the ability to tailor your own polar pattern is very useful when trying to balance the amount of direct vs. reflected sound you want, or to minimize (or maximize) proximity effect. This has become my favorite mic under $1,000!
Perfect Mike for your Imperfect Studio
I am a self-taught home studio VO engineer and have never recorded with super-high end gear. Our basement acoustics are challenging, but we have a "booth area" with sE Electronics Reflexion Filter PRO Portable Vocal Booth contained within clearsound partitions as booth walls and some hanging acoustic foam. This mike is really quiet and highly responsive running through an Audient 22, which means your room imperfections WILL show up. The response curve is excellent for VO work, maybe a touch warm in the alto range. The real key is the tuneability. With a little work, you can get a polar pattern and bass roll off that knocks out alot of unhappy resonance from a non-pro sound booth. The beautiful high-end gear probably is better, but I think you are talking about small margins of additional quality (essential for a pro studio) for alot more money, relevant mostly in perfect acoustic environments.
Great Mic, Great Company
This Mic can do it all. The pads are fantastic and very helpful. Rode warranty is honorable!!! I had an issue 9 years after I but the mic...and they replaced the part no questions ask...Great company, Great Mic
It broke. So why did I give it 5 stars? Because Rode Mics went out of their way to make it right.
Before I get into that saga, I will say out right it is a beautiful sounding mic. It has a slight emphasis of the lows and highs and a slight de-emphasis of the mid-range, but I tend to prefer that. I like knowing that I am getting the full spectrum of sound, and then If I choose to run it through the EQ to roll of the lows and highs a little, I can get the exact balance I'm looking for. It's particularly nice knowing that the highs are there should i want them.
Now, what truly made my happy with my purchase. I had been using this mic for 3 or 4 years when I realized that I wasn't getting the high frequency clarity that I should be. I did a couple test recordings, compared them to a couple recordings from when I first bought the mic and found that there was a very significant drop in high band frequency response. I went to my paperwork to track down warranty information and was disappointed to find that it only mentioned a one year limited warranty. I decided to contact Rode anyway even though I felt like it was a long shot that they would be willing to help me. I explained my situation, and made it clear that I hadn't mistreated the mic, and in fact that I hardly every even moved it once I got it on my mic stand. A Rode representative got back to me and told me that if I registered the mic on their website I could get access to a ten year warranty that I believe they instituted after I had bought my mic. They wanted the original date of purchase (which I of course could not remember anymore) and the proof of purchase (which I had sense thrown away or lost) to register the mic, but accepted that I could not provide them. There are plenty of electronics companies that would have happily used these as excuses to void the warranty, it you could argue that it wouldn't have been unreasonable, but Rode didn't. They sent me an RA# and address for a service department and had me send it out. Two weeks later I got word that they could not fix my mic and were instead sending me a replacement, brand new and sealed in its box. To me, that is a big deal. Maybe this is the norm in microphones or studio equipment in general, but have dealt with other electronics companies enough to know that this level of customer service is not the norm for everybody. I have since tried to find out if this is a common problem with Rodes, and have found absolutely zero reference to this problem online, so it seems very unlikely that this is a design flaw. The reality is that all electronics will have some non-zero failure rate. It doesn't matter if it's Neumann, MXL, Shure, or Rode, a certain percentage of their units will fail, and I just happened to draw the short straw. What matters is what the manufacturer does about the failures, and Rode's approach was exemplary. I would highly recommend this mic, just make sure you keep your receipt or packing slip, as it will make things easier if something should happen to go wrong.
Very beautiful sound!
Ok, ok when I frist got this mic i was not too crazy about it. This mic sounds ok on any accoustic instrument I put it on in the studio. But when it's time for vocals this NT2000 is a beast! It's out of the ordinary straight forword plain dry sound you get out of most mics like the TLM 103 before you master the track. The NT2000 has this agresive full body sound to it like it's a tube mic but no tube! LOL Just pure clean solid state warmth! I've been recording with mic for about over 2 years now, and I can safely say that this mic does have a very versitile sound and many many charictoristic textures you can't out of this mic depending on what pre-amp you plug this into. You can get smooth silky, warm and fuzzy, warm & clean, fully balanced body and sizzling highs... This mic is basicaly ear candy big time! I don't understand why this mic did not receive a Grammy award yet it has the exact same frequency reponce as the Rode NT-2A, this was a more improved version of the NT-2A that happen to win a Grammy award! Oh and when you record up to 24-bit 192kz audio from this mic you won't believe the amount of high quality and detailed sound you get like as if it was some $6,000 AKG or NEUMANN mic! This mic is truly a blessing, in other words the NT2000 was a great buy!
Very beautiful sound!
Ok, ok when I fist got this mic i was not too crazy about it. This mic sounds ok on any accoustic instrument I put it on in the studio. But when it's time for vocals this NT2000 is a beast! It's out of the ordinary straight forword plain dry sound you get out of most mics like the TLM 103 before you master the track. The NT2000 has this agresive full body sound to it like it's a tube mic but no tube! LOL Just pure clean solid state warmth! I've been recording with mic for about over 2 years now, and I can safely say that this mic does have a very versitile sound and many many charictoristic textures you can't out of this mic depending on what pre-amp you plug this into. You can get smooth silky, warm and fuzzy, warm & clean, fully balanced body and sizzling highs... This mic is basicaly ear candy big time! I don't understand why this mic did not receive a Grammy award yet it has the exact same frequency reponce as the Rode NT-2A, this was a more improved version of the NT-2A that happen to win a Grammy award! Oh and when you record up to 24-bit 192kz audio from this mic you won't believe the amount of high quality and detailed sound you get like as if it was some $6,000 AKG or NEUMANN mic! This mic is truly a blessing, in other words the NT2000 was a great buy!
i've been using nt 2000 since 2004! and most of my vocal sessions i have done on this mic! actually this mic helps you to control and adjust any kind of vocal situation when its come to transparency you'll be amazed! thanx rode!!!
Great Mic, But...
Given that I've only had the opportunity to record two female vocalists (along with my lousy baritone voice in all it's glory)it might be a little premature to give a verdict on this mic. I will agree that this is a very revealing sounding mic which means that without a good tube pre amp, some compression and reverb, you're not going to get "warm & fuzzy". However I've managed to coax some very nice and natural sounds from it going through my old Tascam board, MOTU 828 MKII into my computer. I was looking for a mic that would allow a vocal to "sit" in a mix with the least amount of EQ possible. So far, so good. Two caveats; this mic has a ground problem. Every time I set the adjustable pattern settings (although it's typically "set & forget" so it's not chronic) I get a hum. Also, because of its weight, you'll need a substantial mic stand. My overall impression is that this is a very god mic for the money.
It has it all
When you see the word "transparent" the first thing that comes to mind is how overused that term is. This is the ONLY word that accurately describes Rode's tour de force in their line. With full adjustable pattern response and filter rolloff it offers versatility other mics haven't figured out yet.
The build is typical "built like a brick outhouse" Rode style. Beautifully finished with only top flight switchgear all around. To plug one in and hear one is a experience all it's own. Full, airy, unrestricted, rich are only a few words that come close to describing it's output.
Having purchased a NT1-A and NT2-A prior I was hesitant to put all my eggs in one manufacturers basket. I was NOT dissapointed however. You can go right ahead and spend your $2-3,000.00 hard earned dollars searching for that elusive mic that will do it ALL. Here it is for a whole lot less but will not shortchange you on build or performance.
Okay, I freely admit I am a mic-a-holic. I've even confessed in my Tech Notes column in the Winter 2004 issue of Sweet Notes. Still, my encounters with RODE mics has been quite limited, though I plan on adding their sweet NT4 stereo mic to my personal collection as soon as I can (I like the idea of concentrating on the music, not worrying about the potential problems inherent in stereo miking, like phase cancellation).
Like most mic fanciers (or just plain hard working studio pros) I have taken note of all the excellent press RODE mics have been getting for quite some time. So it was almost perfect timing when our RODE rep asked if I'd like to give their new NT2000 a spin. My response was an instant, "Are you kidding? Send it right away!" Well, they didn't send me one NT2000. No, they sent me two, just so I could see how well they work in stereo applications. Naturally I was thrilled (who wouldn't be?).
Designed by Australia's Peter Freeman, who sunk a small fortune into developing it, the NT2000's main feature is its continuously variable polar pattern, so you can easily select exactly the amount of room sound you want without moving the mic. For a vocal track or an "in-your-face" acoustic guitar recording, you can set the mic to its cardioid response setting. Want a bit more ambience? Just turn the pattern control clockwise towards the omnidirectional pattern or all the way out to a full "Figure 8" pattern, which picks up sound from the front and back of the mic, but rejects much of the left and right sides.
You can read my full review of the NT2000 in a future "Tech Notes Online" column, but for now, let me say that this is an incredible mic with an amazing price-to-performance ratio. Consider this: You get a great-looking mic with a one-inch, gold-sputtered edge-terminated diaphragm that feels like it's built to last. Controls include the variable polar pattern knob, plus a continuously variable pad and variable high-pass filter. It ships in a molded custom carry case with a great shock mount, all at a price that a few years ago would have been unheard of.
How many times have you heard this: "Every studio must have at least one microphone of exceptional quality." Well, the RODE NT2000 is an exceptional mic that will certainly be at home in both the project studio environment, as well as in pro studios around the world. If you haven't guessed yet, I really liked this mic. If I were in need of a super versatile microphone that looks and sounds terrific but won't cost as much as last year's best-selling SUV, the RODE NT2000 should be on the short list of mics to consider!!