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Rode K2 pair sounds like an @ss with NOS tubes! Condenser Microphones
Old 3rd February 2011
  #31
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Funny Cat's Avatar
Tube-Swapping

Quote:
Originally Posted by 6strings View Post
I agree with the above sentiments on "tube rolling."

Changing/swapping tubes can affect some of the qualities of the tone (high end shrill, chimey-ness, noise, etc.) but a tube swap itself won't change the true sound or character of the amp or mic. It just sounds like the K2 just isn't working for you on those sound sources.

I upgraded from an NT1-A to a KSM44 and it is a much nicer experience. Not bashing on Rode, though. The NT-5s are nice mics!
This first sentence in your reply sums up the whole point of swapping tubes. Would I be overstepping my boundaries by rephrasing your statement like this:

"Changing/swapping tubes can affect some of the qualities of the tone (i.e. making the mic a little "smoother")?
Old 12th May 2011
  #32
Gear Head
 
yaknski's Avatar
Quote:
Originally Posted by Michael_Joly View Post
Thanks for that vote of confidence. But regarding tube swaps in microphones - outside of self noise and microphonics, a tube, operated in its linear range, offers very little sonic change from any other tube of its class - relative to the effects of headbaskets, capsules and circuit topology. Lets think about it...

...the whole "tube rolling" fad is premised on the idea that tubes offer significant amplitude domain or time domain vs. frequency changes - if this were true, all equipment designed around tubes would offer inconsistent results. The beauty of a particular tube type or transistor type is that they have equivalent function - an RCA, Sylvania, Mullard or lowly China-tube all function the same way.

But the differences between them are far more subtle than the other factors listed above - a simple tube swap is not going to undo the effect of an exceptionally bright and sibilant headbasket combination.

Gee, this sounds like my rant called "why preamps are not as important as microphones" : )
I have to disagree with you here, although I realize now that you've left this forum. You may be right in theory, but my experience in this particular situation the NOS tubes made a huge, quite noticible difference - not subtle at all. So much so that I re-tracked a buncha stuff after using the NOS'. Watching a de-esser A/B'g stock vs. NOS tube also gave a visual confirmation as well.
Old 12th May 2011
  #33
I have very sensitive ears and changing from tube to tube in the K2 makes a big difference in sound. I think the OP doesn't know how to use the mics properly. And yes, you need to back off the mic a tad, just like the c800g which is another bright tube mic. Again it always depends on the source, the pre and the room.
Old 12th May 2011
  #34
Gear Addict
 

I had one, sold it and bought another. The second one is darker and has a jj tube replacement. I replaced the stock tube in the first one with a JAN Sylvania. Some difference but the tube went south and became noisy.
I would be pissed to spend over $100.00 on a Telefunken or Mullard and have it go south. It is a decent mic for the money and can be used for many sources.
Old 12th May 2011
  #35
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Rokus666's Avatar
Both of my microphones sounded nasal.
It's not the room, there was two new NOS tubes put in, I gave them so much chance hoping they will sound good. I had to get rid of them!
Vocals, percussion, guitars, you name it, I never got a satisfactory result.
Old 20th January 2015
  #36
Gear Head
 

Did you bin the K2s?

Hi did you get rid of the Rode K2s? What would you recommend for saxophone and nylon strung flamenco/classical guitar ? I'm after something that is warm and not too toppy sounding up to £1000.00 stirling..Cheers bro!
Old 20th January 2015
  #37
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Rokus666's Avatar
Quote:
Originally Posted by saxparper View Post
Hi did you get rid of the Rode K2s? What would you recommend for saxophone and nylon strung flamenco/classical guitar ? I'm after something that is warm and not too toppy sounding up to £1000.00 stirling..Cheers bro!
Oh man!
For that money you can almost get 2 used Royer R121. Get them on ebay and send them to the factory for re-ribboning. The engineers are great and friendly people that take their time to talk and they make you feel special.
These mics do magic on classical guitar and brass. I have successfully used it on vocals, banjo, steel string, guitar amp and kick drum with excellent results.
Forget about K2's, some people like them, but to me they were nasal as hell and it was irritating. Could not settle for their nasal quality. It was bugging me so I had to get rid of them. These K2's are the only mics in the studio I got rid off.

Also, another thing that works for my classical guitar recording is SDC (Neumann KM184 or Oktava MK12) paired with R121 in M/S configuration.
I can not describe how nice this sounds. You can blend two different microphones to liking, and, also Royer has back side brighter than the front, and that works suprisingly well for guitar recording.

Best!
Old 20th January 2015
  #38
Gear Head
 

Could I get away with buying just one or would you recommend setting them up as a Blumlein pair configuration for the best possible eargasm ? Thanks for your advice bro!
Old 20th January 2015
  #39
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Rokus666's Avatar
Quote:
Originally Posted by saxparper View Post
Could I get away with buying just one or would you recommend setting them up as a Blumlein pair configuration for the best possible eargasm ? Thanks for your advice bro!
Well, two is always better than one, but you can still get a good sound with using only one. I also like this microphone further away from the instrument, so you can get a kind of a cool vibey sound.
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