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Testing Placement of RODE NT5's with the Guzheng (Chinese Zither)

Just starting using a pair of RODE NT5's with directional capsules to record the guzheng. After some experimenting with positions, I've settled on both overhead, one on each side, about 3ft from the instrument. I've added no effects to this recording other than a compressor. What do you think?

RODE TF-5 Premium Condenser Cardioids

  1. Introducing the RODE TF-5 Premium Condenser Cardioids, Designed In Collaboration With Legendary Sound Engineer Tony Faulkner
    Introducing the RODE TF-5 Premium Condenser Cardioids, Designed In Collaboration With Legendary Sound Engineer Tony Faulkner

    We are thrilled to introduce the RODE TF-5.

    Designed in collaboration with legendary, Grammy Award-winning sound engineer Tony Faulkner, the TF-5 represents a new standard in small diaphragm condenser microphones.

    The TF-5 is unmatched in terms of airiness and clarity, with a warmth that makes it uniquely versatile. The precision sonic matching and beautiful tone of the TF-5 makes it perfect for recording detailed and natural-sounding performances when used as a stereo pair, or for capturing the nuances of a soloist when used as a spot mic.

    RODE TF-5 key features:

    • Matched pair small diaphragm condenser cardioid microphones.
    • Imagined and designed in collaboration with Tony Faulkner and manufactured at RODE ’s state-of-the-art facility in Sydney.
    • Brand new capsule, precision-engineered to sub-micron tolerances, delivers breathtaking sonic transparency.
    • Exceptionally low noise floor (14dbA), making the TF-5 suitable for the most critical recordings.
    • Includes high-quality RODE stereo bar for easy rigging as a stereo pair.

    “The TF-5 is the best small diaphragm condenser in the world, plain and simple,” says RODE Founder and Chairman Peter Freedman AM. “The degree of obsession that went into the design and development of this mic has set a new benchmark for our craft of high-end microphones.

    “We are proud of what we have achieved alongside Tony Faulkner,” he continues. “He is a true pioneer and innovator, and also a great friend of mine. Working on this microphone together has been a highlight of my career.”

    Tony Faulkner is one of the most respected sound engineers in the classical music field. He is incredibly prolific, with thousands of admired classical music recordings under his belt, and he has been nominated for numerous Grammy Awards, winning Best Instrumental Soloist Performance in 2005.

    “The TF-5 is designed to be no-compromise,” says Mr. Faulkner, “very very low noise, very broad bandwidth, very clean. Something which can be modified if you choose, but if you leave it, it sounds natural and clean and musical.”

    “The new capsule,” he continues, “is so beautifully engineered. I’ve been to the factory and seen how they make them - the precision of engineering is remarkable. These are special microphones, very high quality, and I’m proud to be a part of them. Take two of them out of the box, rig them on a stand with the stereo bar, and enjoy how natural they sound."

    Check out Tony discussing the TF-5 below, and find out more about it here.

The VideoMic Me-L from RODE


June 21st 2018 PST, Vidcon, AnaheI'm California: RODE Microphones, Australian pro audio giant, announces the release of the new VideoMic Me-L at the world’s largest online creators Expo, VidCon.

The VideoMic Me-L is a Lightning connector equipped high-quality directional microphone with a compact and lightweight body designed for Apple iOS devices. Its Lightning connector plugs directly into the device, utilising the device’s internal power for instant plug-and-play – no batteries necessary. A standard 3.5mm headphone jack on the rear allows audio play-through in real-time and effortless audio playback.

The VideoMic Me-L is made from durable aluminium and coated in a military-grade ceramic finish, providing a hardwearing chassis that’s resistant to scratching. It’s a build quality far and away from the competition, reflected in superior sound. The microphone also comes packaged with a deluxe furry windshield for shooting outdoors and in adverse weather.

The VideoMic Me-L is suitable for vloggers, musicians and any iPhone users seeking to drastically improve their iOS device’s quality of sound.

“The original VideoMic Me is one of our most accessible mics and the world’s most popular microphone for mobile audio,” says Damien Wilson, RODE CEO. “The new VideoMic Me-L’s Lightning connector and plug-and-play functionality is a great addition to the VideoMic family, introducing the latest iOS devices to RODE ’s made-for-purpose mic.

“Vidcon is the perfect venue for launching the VideoMic Me-L at: 50,000 emerging online creators converge at AnaheI'm over the weekend and all are looking to create the best content they can. George Lucas once said, ‘the sound and music are 50% of the entertainment in a movie’. With sound quality 50% of any decent video experience, the VideoMic Me-L is the perfect choice for today’s creative generation.”

RODE SoundField NT-SF1 Ambisonic Microphone

The World's First Broadcast-Grade Ambisonic Mic For Under $1000

April 9th, 2018 Just in time for NAB, Australian pro audio powerhouse, RODE Microphones, is proud to announce its first broadcast-grade, 360-degree surround sound capture microphone and flagship product of a new brand in the RODE family.

The SoundField By RODE NT-SF1

The first product for the SoundField By RODE family is a marriage of SoundField’s pristine ambisonic recording technology, and RODE ’s commitment to audio excellence accessible by all creators. Completely designed and made in Australia at RODE ’s Sydney campus, the NT-SF1 is a triumph of innovation and manufacturing quality. Featuring four of RODE ’s all-new, ultra-quiet ½-inch TF45C capsules in tetrahedral array, the NT-SF1 produces natural, transparent four channel A-format recordings which can be transformed and manipulated in B-Format, courtesy of the soon-to-be-released SoundField by RODE plugin .

And the sound? The NT-SF1 offers startling spatial accuracy, coupled with a natural transparency.

“When The Freedman Group acquired SoundField in late-2016, the aI'm was to continue producing the premier 360-degree audio capture loved by the professionals who bring us cinema sound and 7.1 broadcast,” says Freedman Group CEO Damien Wilson. “And we are. But, as is the RODE way, we have brought our manufacturing and design expertise to bear on this new family of microphones. The SoundField By RODE NT-SF1 is for creators for whom the ultra-high-end SoundField products are out of reach, and delivers results unmatched by all but the most expensive ambisonic microphones.”

Head of RODE ’s New Product Development and former Director of New Product at SoundField for 16 years, Pieter Schillebeeckx, says this is the most exciting development in the technology in decades. “Delivering this kind of professional-use technology at a sub-USD$1000 price point is a world first in the ambisonic world,” he says. “It gives budding VR creators, immersive filmmakers and videogame world builders an accessible and high-quality way to dive into 360-degree-with-height audio capture.”

Due to release soon in 2018, the SoundField By RODE NT-SF1 will democratise one of the last bastions of high-end recording the way RODE has always done: with precision, price and unbeatable after-sales service.

Trying to record into SP404sx with my RODE NT1

Hey there,

I'm trying to record directly into my sp404sx with a RODE NT1 microphone through my Scarlett 2i4 interface (using Ableton as a DAW). Currently I am succesfully getting signal, however, I am only getting signal on one side in the SP404. Any help would be much appreciated, being able to record straight into my sampler with the RODE NT1 would greatly improve my workflow. (I need to use the interface so as to transit phantom power to the mic. Otherwise I would use the actual mic line on the SP).

I have attached an image of the connection between the SP404 and the audio interface.

Attached files

ROOKIE QUESTION: My Focusrite 2i4 is receiving no signal from my RODE NT!


I'm currently trying to use my new RODE NT1 microphone to record into ableton. I am using a Scarlett Focusrite 2i4 as my audio interface. I am aware of the need for phantom power and have the '48v' button switched on on my interface. Although I have the phantom power on the interface seems to be receiving no signal from the microphone. I'm not sure if this is an issue with the mic, the interface, my settings, or if I am doing something else wrong.

I will attach a photo of my Ableton preferences, the cables, and the set up between my interface, mic and computer. Any help would be greatly appreciated

(Please note: the RODE NT1 mic and the cable are both brand new and never used)

Attached files

Recorder suggestion on Classical Piano Recording? AT2020USB vs. H4n vs. RODE NT4.

I'm very new to recording and looking to record a classical piano performance in a small studio that could be used for pre-screening in applications for music schools. There is not much guideline on the requirement for the pre-screening material, but I want to make it as professional as possible while staying within budget. I have hired an audio engineer to help me recording for 10 hours, but because of their limited availability I want to have some options to record by myself as a backup plan. I'm also considering about finding another engineer out of town (could only find one in my town) but am constrained by budget (around $500)

For the recording environment, I will be playing in a small studio. It is about 800 sq ft with two Steinway grands with sound-absorbing material on the walls. The recording system would be connected to my Macbook Pro (i5, 8GB RAM) which has two USB ports and use GarageBand (or other DAWs you would recommend.) I have no experience recording by myself and want most simple setup. I'm considering following options, but not so sure how the actual outcome would differ and what would be the minimum requirement setup to sound "professional" without crackling or pedal noises.

iPhone/Macbook microphone. (cheapest, just need holder.)
AT2020 USB+ with Mac
Zoom H4N / H6
RODE NT4+ some interface (Maybe Scarlett solo USB?)
1 or 2 Shure SM57 or some other microphone+ some interface
Any other recommended setup.

+finding another recording studio with remaining budget.

Also, I'm not so sure if I would need any other equipment like an additional power source or preamp. I tried to do more research but can't really understand how they work. Any help would be extremely appreciated regarding those setups, comparison, or thoughts.

Thank you in advance!

New RODE VideMic Pro recording at lower-than-normal levels?

I recently bought the RODE VideoMic Pro to couple with my Zoom H1 in order to obtain better and cleaner sound in my videos by recording the person's voice from up top, as close as I can get to the mouth, which is normally around 30-40 cm. However, I'm finding that at normal to slighlty-higher-than-normal speech levels my setup must be VMP @ +20db and H1 @ 25 in order to get a decent sounding audio quality with decent volume. And I'm often having to ask the speaker to speak a louder, as loud as he/she can, which is not ideal.

It seems a little weird that I have to jack the VMP all the way up to get decent levels. If I want the VMP @ 0 db, say, in order not to capture everything that's going on around, I find I'm forced to jack up the H1 all the way up to 75 in order to get similar results. Although here I feel audio quality is already a little sacrificed by jacking up the gain so much.

The VMP @ -10 db? Well, that makes sound non-existent in my setup. My setup is pretty standard, isn't it? Having the VMP at 30 cm seems like a dream to me when compared to when I worked on short films and the boom had to be high up, a meter or more from the actors. However, I feel I'm getting very low recording volumes. Not at all what I was expecting when I spent more than 200€ on the mic.

The first VMP I bought had an issue with the 3,5 audio jack, and the audio input to the H1 would cut off on its own for no reason. So I could never really test it. I exchanged it and this second VMP is fine in that respect but it does have an issue with the Off-On-Cut switch popping off when I take it out of the bag or when I toggle it. So I'm feeling like the RODE quality control for these mics atleast isn't that great. This, added to the fact that I feel that, even though the VMP is a shtogun mic, I find it picks up a lot more from all over the place than I was expecting for its price. Allinall, I'm wondering if I haven't got another lemon on my hands? That my VMP might actually be working at lower-than-normal volumes and I should change it again?

I would really appreciate to know your experience with the VMP and if you think this sounds normal or if it sounds like the mic isn't working correctly.

Thanks in advance for your input! Cheers!