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. 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. 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.

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

Rode NT2-A Studio Solution Pack Overview

As for sound quality - the recording is a little better I heard only at the Neumann microphones and old ribbon microphones - but it is another price category... The cable and pop filter that cames in set are okay! Very convenient when everything is sold in one set. These two factors complement one another, with the peak at 10kHz being justified when factoring in the slow transient response dulling any potential harshness. It is honest enough to fit snugly into various specific areas where its undeniable high-mid lift is a pronounced advantage. The Rode NT2-A is a large-diaphragm condenser microphone released in 2010. This microphone is an upgrade on the Rode NT2, released in 1992, which was marketed upon release as a technological upgrade to previous microphones while remaining true to the tones of microphones of the ’50s and ’60s. 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 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.It is amazing how versatile this microphone is. I hook it up to my Steinberg UR44 audio interface , switch the phantom power on, and it is ready to record speech, singing, rapping, acoustic guitar, bass guitar from an amp, cajon, darbuka, various noises, or even low volume ambient sounds. 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. 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).