Rode NTR vs. NT5 Matched Pair in Stereo

sutherland · #1 09-13-2017, 11:20 AM

Has anyone had the opportunity to compare the NTR against the a pair of NT5s in Stereo when it comes to recording a single acoustic guitar?

I love the versatility in placement that a pair of NT5s provides, but the NTR seems to capture a 'truer' spectrum (what one would hear in a room) out of the box.

Any first hand experience would be appreciated!

Al Acuff · #2 09-13-2017, 03:37 PM

It's comparing apples to oranges. They are totally different mics. You'll eventually want a ribbon mic AND a pair of SDC mics so the way I see it, it's just a question of which will you buy first.

sutherland · #3 09-13-2017, 04:29 PM

Quote:

Originally Posted by Al Acuff

It's comparing apples to oranges. They are totally different mics. You'll eventually want a ribbon mic AND a pair of SDC mics so the way I see it, it's just a question of which will you buy first.

I think in an a round-about way you answered my question. My biggest concern was whether or not the pair of SDCs would be able to capture the 'room', so to speak, or if it will still manage to be focused.

Most of the dedicated videos that I managed to find comparing the above were with either drums or piano, which after compression (and likely, the instruments used), I couldn't really a significant difference.

DupleMeter · #4 09-13-2017, 04:34 PM

well, if it's any help, many "audiophile" style recordings are made with just 2 SDCs & they capture source & environment quite well.

SDCs are quite capable of capturing room as well as direct source. It's more about mic placement & recording technique.

Al Acuff · #5 09-14-2017, 07:25 AM

Apart from the sonic characteristics the biggest difference is in pickup pattern. A ribbon mic picks up on both sides which is called figure 8. An SDC is usually cardioid or omni. The Rode mics you're considering are cardioid. The ribbon is figure 8.

If you're beginning to learn about mics it's probably going to be easier to start with a cardioid SDC. It picks up on one direction and will be easier to learn compared with a mic that picks up in a figure 8.

Also, ribbon mics have double the proximity effect of cardioid mics. If you close mic your tracks with a ribbon mic you'll end up with a LOT of bass building up. One exception to this is the AEA N22 ribbon mic which is designed for close placement use in home studios. Great mic. I bought two. They are great on vocals, guitar, amps, harmonica... if you want to try a ribbon mic it's the one I'd recommend.

By the way, the Josephson C42 SDC microphone has a good reputation and is priced at $455. This is hearsay not a personal recommendation because I have not used one myself. I've been pleased with my Gefell M300s and wouldn't hesitate to recommend the M300.

Brent Hahn · #6 09-14-2017, 07:41 AM

Quote:

Originally Posted by Al Acuff

Also, ribbon mics have double the proximity effect of cardioid mics. If you close mic your tracks with a ribbon mic you'll end up with a LOT of bass building up.

If you have a great sounding room, a single ribbon mic a couple feet from the guitar can sound fantastic. But most home recordists don't have great sounding rooms.

Al Acuff · #7 09-14-2017, 07:44 AM

There's some truth in that. After I bought my ribbon mics I found it necessary to invest in some room treatments from RealTraps. Adding the acoustic panels made all my mics sound better. I should have done it way sooner.

The N22 ribbon mic is designed to be placed about 6 inches from the source and will work reasonably well in a less than perfect room. No mic sounds great in a bad sounding room. That applies to condenser mics as well as ribbon mics.