Rode NT1-A Microphone
Posted under: Building on the Audio Technica AT2020 and AKG P220 entry level studio condenser microphone reviews, this time up we’re taking a look at the Rode NT1-A. Priced just over $200 ($229 – B&H, Adorama, etc.), the Rode NT1-A delivers a high end sheen that I’ve not yet experienced with the previous two microphones, while at the same time, keeping it’s signal to noise ratio remarkably low. The Rode NT1-A is roughly the same size as the AT2020 and P220, and features a large 1-inch gold plated capsule. And just like the other two, the Rode NT1-A is a condenser with a tight cardioid pattern.
As is standard with most of today’s condenser microphones, frequency range is from 20hz – 20khz. Now here’s where things start to get interesting. According to Rode, the Signal-to-Noise ratio is 88 db. Which is quite odd, as the AKG has an S/N ratio of 78db and the AT2020 74db. However, when viewing the bar graphs inside my recording software, the Rode NT1-A had the closest to ‘flat’ of all three of the mics. In other words, on paper, it may not be the quietest, but when put to the eyes and ears, you can’t hear a thing (which, in this case, is good). The Rode NT1-A features no pad or roll-off switches, but achieves a maximum SPL of 137 db SPL, giving it the lowest range of the three microphones.
And while both the Audio Technica AT2020 and AKG Perception 220 feel like solid, if almost heavy, microphones, the Rode NT1-A goes the completely opposite route. Upon first unboxing of this microphone, I almost dropped it, as I was expecting something much heavier. It has the look and sound of a vintage tube mic, but definitely not the same feel. Likewise, the AKG comes with a solid (if only heavy plastic and foam padding) case, that makes just about anyone feel like a pro. Rode, while they do include a spider mount and pop-filter, there’s no case anywhere to be seen. Not even a decent, padded pouch (i.e. the Shure SM58 bank bag). At the end of the day, Rode gives you a fancy dust cover with a draw string. Fair enough, I don’t expect to be doing any ‘on-location’ work with this microphone, but a case would have gone a long way to making me fall 100% in love with this mic.
Overall conclusion
The Rode NT1-A is an outstanding mic for studio, voiceover and podcast work. It’s high on tone quality and vintage sound, while being light on the wallet, especially for what it is. It is the most expensive of the three microphones I’ve tested thus far, but when put head to head with the AKG Perception 220, you’re really going to have to dig in with a set of closed-ear headphones to really hear the difference. Conversely, if you’re using the Rode NT1-A solely as a spoken word/voiceover/podcast microphone, it’s outstanding. Of the three, the AKG seems most suited to functioning as an amped instrument’s recording microphone, as it has the highest SPL, while at the same time, requiring the most amount of incoming volume. The Rode does stand head and shoulders above the other two in the sensitivity department though. The AT2020 and P220 are very capable of picking up sounds in the desired sonic pattern, but both require the speaker to sometimes ‘swallow’ the mic to get an upfront feel, whereas the Rode presents this feeling naturally.
Rode NT1-A specifications:
- Power – P48 (48V), P24 (24V) phantom supply
- Acoustic Principle – Pressure gradient
- Directional Pattern – Cardioid
- Frequency range – 20 Hz – 20 kHz
- Output impedance – 100?
- Signal noise ratio – >88 dB SPL (A – weighted per IEC651)
- Equivalent noise – 5 dB SPL (A – weighted per IEC651)
- Maximum SPL – 137dB SPL (@ 1kHz, 1% THD into 1K? load)
- Maximum output voltage – +13.7dBu (@ 1kHz, 1% THD into 1K? load)
- Sensitivity – -32 dB re 1 Volt/Pascal (25 mV @ 94 dB SPL) +/- 2 dB @ 1kHz
- Weight – 326gm
- Dimensions – 190mmH x 50mmW x 50mmD
Uncompressed .wav files:
Spoken Word:
Rode NT1-A Spoken Word Uncompressed
Singing:
Rode NT1-A Singing Uncompressed
Guitar:
Rode NT1-A Guitar Uncompressed
I make no claims about my singing voice and paltry guitar skills. 
Gaming Industry vet Stevie Case launches StevieFTW podcast
If you’re a long time gamer, chances are you know, Stevie Case. She’s been deeply involved in the gaming industry for over 10 years now, with her initial success stemming from a triumphant win over John Romeo, creator of the all-time classic, genre-defining title: Quake.
During the 1990’s Stevie was a pre-law student at the University of Kansas by day, and hardcore gamer by night. She joined the ranks of the Cyberathlete Professional League (CPL), and holds the honor of being the first ever professional female gamer. Post world gaming tours, Stevie moved into game development rolls, and eventually found herself in the world of High Tech Management. She currently juggles the hectic pace of heading up business development at microtransactions software provider, as well as being a full time mom “and loving it,” says Case.
Partnering with NewWorld.com, Stevie has recently signed a two-year agreement to host a weekly podcast, appropriately titled Stevie FTW. The podcast will focus on not only gaming, but the high tech lifestyle including web culture, digital media, and the latest gadgets and tech trends. Not solely bound to tech, Stevie will seek to cross her passions for adventure, food, wine, travel and more with her unique industry experiences.
The StevieFTW podcast officially launched yesterday, March 31st, and will air every Wednesday. Her initial guest, none other than gaming industry icon Cliff Bleszinski of Epic Games. Bleszinski is one of the driving forces behind the Unreal franchise, as well as the Gears of War series. If this isn’t a high bar to set in an inaugural episode – I don’t know what is. I, for one, can’t wait to see where she goes from here.
“This is something that I’ve done for years, just not in Podcast form,” says Case. “There’s all this great info floating around in my, and others’, heads, and so the option to put it down on tape [so to speak] was a no-brainer. “
Catch Stevie FTW at stevieftw.com. No iTunes stream has been set up yet, but Case assures me it’ll be there “very soon”. You can also stay up to date with Stevie FTW on Twitter and Facebook.
4/4/10 Update: Here’s the Stevie FTW iTunes Podcast link.
AKG Perception 220 Microphone
As a follow-up to my previous review, let’s take a look at the AKG Perception 220 microphone. Priced around $50 more than the Audio Technica AT2020, the AKG packs a number of features into an agreeable (approximately) $200 microphone that are often found on much pricier microphones. Similar to the Audio Technica, the P220 is a cardioid condenser microphone, featuring AKG’s renowned 1-inch large-diaphragm true condenser transducer.
Both microphones feature a 20 – 20k hz response, with the AKG just edging out the AT2020 in the signal-to-noise ration department. The AKG clocks in at 78db while the Audio Technica scores only 4 db lower at 74 db. When it comes to miking up some amps or percussion, the AT2020 is capable of handling 144 dB SPL, 1 kHz at 1% T.H.D. while the AKG P220 will handle 155 dB SPL, at .5% T.H.D. One unique advantage that the AKG has over the Audio Technica is it’s -20db pad. What this means is that users can simply flip a switch on the P220 if they’re going to be miking big amplifier cabinets, and don’t want to run the risk of distortion.
Another one of the AKG’s fancy switches will apply a bass roll-off filter. This is meant to filter out any unwanted low bass tones in your recording. For example, if used in a home studio, as I suspect many owners of the P220 do, in quiet passages, someone walking seemingly silent across the room, can sometimes register with a highly sensitive microphone such as the P220. To combat this, flip the roll-off switch and record low-end-rumble-free.
Overall, as you can see in the video above, I decided to go with the AKG. The Audio Technica AT2020 in it’s own right is a very strong microphone, and I would have no problems using it again. However, if given the choice, I just found the vocals to have a bit more sparkle on the high end, as well as some nice warm tones in the middle and lower end of my voice. Also noteworthy, the Audio Technica ships as mic only, whereas the AKG included a nice matte-black spider shock mount, as well as an aluminum padded carrying case. Certainly not deal breakers, but a further sign of AKG’s commitment to quality.
Overall conclusion
If you’ve got the extra $50 or so to spend, have a serious look at the AKG Perception 220 over the Audio Technica AT2020. Again, both good in their own right – but in my humble opinion, the AKG is a better piece of equipment. And as an added bonus, I also know that I’m supporting my local economy, as AKG has their headquarters not very far away from where I live.
AKG Perception 220 specifications:
- Type 1″ Large Diaphragm True Condenser
- Polar pattern cardioid
- Frequency range 20 to 20,000 Hz
- Sensitivity 18 mV/Pa (-35 dBV)
- Max. SPL 135 dB/155 dB (0/-20 dB) for 0.5% THD
- Equivalent noise level 16 dB-A (IEC 60268-4)
- Signal/noise ratio (A-weighted) 78 dB
- Preattenuation pad 0 dB, -20 dB
- Bass filter 12 dB/octave at 300 Hz
- Impedance <200 ohms Recommended load impedance >=1000 ohms
- Powering <2 mA
- Power requirement 48 V phantom power to DIN/IEC
- Connector 3-pin XLR
- Finish metallic blue/nickel grille
- Dimensions 53 dia. x 165 mm (2.1 dia. x 6.5 in.)
- Net weight 525 g (18.5 oz.)
- Shipping weight 1,970 g (4.3 lb.)
Update! Uncompressed .wav files:
Spoken Word:
AKG P220 Spoken Word Uncompressed
Singing:
AKG P220 Singing Uncompressed
Guitar:
AKG P220 Guitar Uncompressed
I make no claims about my singing voice and paltry guitar skills.
Audio Technica AT2020 Microphone
The folks at Audio Technica have done an outstanding job at packing a much more expensive sounding microphone into a minuscule $79.99 price tag. A Condenser Cardioid microphone, the AT2020 is perfect for recording voiceovers for your video productions and/or podcasts. An excellent entry level studio quality microphone, I’ve demonstrated in the video below a few of the finer points of the AT2020, including the usage of a pop filter, and not.
I also put the AT2020 to the test over the weekend, and closely mic’d by bass amp, and am proud to report no overdrive at all. Even at a fairly loud (by apartment standards) volume level, the AT2020 didn’t flinch.
While Audio Technica certainly had the bottom line in mind when the AT2020 hit the market, it’s a shame that the normally included accessories, a pop filter and spider mount, are not included. This additional cost will put you in the same price range as some low priced ‘middle range’ similar studio microphones. Overall, for the cost, tone, and overall design, I give the Audio Technica an A-.
Specifications:
- Element: Fixed-charge back plate, permanently polarized condenser
- Polar Pattern: Cardioid
- Frequency Response: 20-20,000 Hz
- Open Circuit Sensitivity: –37 dB (14.1 mV) re 1V at 1 Pa
- Impedance: 100 ohms
- Maximum Input Sound Level: 144 dB SPL, 1 kHz at 1% T.H.D.
- Noise: 20 dB SPL
- Dynamic Range (typical): 124 dB, 1 kHz at Max SPL
- Signal-To-Noise Ratio: 74 dB, 1 kHz at 1 Pa
- Phantom Power Requirements: 48V DC, 2 mA typical
- Weight: 12.1 ounces
- Dimensions: 6.38 inches long, 2.05-inch maximum body diameter
- Output Connector: Integral 3-pin XLRM-type
- Accessories Includes: Stand mount for 5/8″-27 threaded stands; 5/8″-27 to 3/8″-16 threaded adapter; soft protective pouch
- Audio-Technica Case Style: R7
I’m also looking at AKG’s slightly more expensive Perception 220 model, which features a bass roll off as well as a -20db feature that would be beneficial for tightening sound in on the source, as well as maximizing gain (without creating distortion).
Video
flickr
