Rode NT 2A Microphone – Xlr

Rode NT-2A Microphone – Multi-Pattern Studio Condenser

The NT-2A is Rode’s multi-pattern studio condenser, built around the HF1 capsule: a 1-inch, gold-sputtered dual diaphragm that lets one microphone switch between cardioid, omnidirectional and figure-8 pickup patterns. Add a three-position pad (0, -5, -10 dB) and a three-position high-pass filter (flat, 40 Hz, 80 Hz), all controlled on the microphone body, and the NT-2A covers the work that would otherwise need several fixed-pattern microphones.

Its figures suit that brief: 20 Hz to 20 kHz frequency range, self-noise of just 7 dBA, a signal-to-noise ratio of 87 dB and maximum SPL handling of 147 dB – 157 dB with the pad at maximum. It is designed and made in Australia and carries Rode’s 10-year warranty.

Key features

• HF1 1-inch gold-sputtered dual-diaphragm capsule
• Three switchable polar patterns: cardioid, omnidirectional, figure-8
• Three-position pad: 0 dB, -5 dB, -10 dB
• Three-position high-pass filter: flat, 40 Hz, 80 Hz
• Very low self-noise of 7 dBA and 140 dB dynamic range
• Maximum SPL of 147 dB, rising to 157 dB with pad
• Transformerless surface-mount circuitry with internal capsule shock mounting
• Satin nickel finish, steel mesh head, designed and made in Australia

Three patterns, three different microphones

Cardioid is the everyday studio pattern: focused on the source in front, rejecting the room behind – the setting for most vocals and close instruments. Omnidirectional hears the room as well as the source, which suits pianos, ensembles and natural ambient recording. Figure-8 picks up front and back while rejecting the sides, enabling two singers facing each other across one microphone, mid-side stereo with a second mic, and Blumlein pairs. Switching happens on the body, in seconds, without breaking the session’s flow.

Pad and filter: control before the preamp

Loud sources overload microphone electronics before they trouble a preamp. The -5 and -10 dB pad steps extend the NT-2A’s ceiling to 157 dB, enough for close drum, brass and guitar-cabinet work. The high-pass filter works at the source too: 40 Hz trims subsonic rumble, 80 Hz counters the proximity-effect bass build-up of close vocal miking and tidies boomy rooms – decisions made while recording rather than repaired in the mix.

Quiet electronics, wide dynamic range

Self-noise of 7 dBA places the NT-2A among the quieter studio condensers, so whispered voiceover, fingerpicked guitar and room tone are captured without an audible hiss floor. A 140 dB dynamic range means the same microphone handles a quiet take and a loud one without gain-riding anxiety, and the -36 dB sensitivity gives preamps an easy signal to work with. It runs on standard 48 V phantom power over its balanced 3-pin XLR output.

In a working studio

Vocals, acoustic guitar, piano, drum overheads, spoken word and broadcast work are the NT-2A’s home ground. Paired units open up true stereo techniques. Its weight – 860 g in a satin nickel body with a heat-treated steel mesh head – calls for a stand that is properly counterbalanced, which is standard practice for large-diaphragm condensers.

One microphone, three patterns and the controls to shape a recording at the source: the NT-2A remains the versatile centre of many project and professional studios.