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Rode NTR on classical voice?
Old 19th June 2017
  #1
Rode NTR on classical voice?

Any thoughts or people who have used the Rode NTR as vocal spot microphone in a small-spaced AB or MS or Blumlein?
Old 21st June 2017
  #2
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jnorman's Avatar
Haven't used the rode, though I have read some nice comments about it. I just picked up an AEA N8 for spot mic purposes and will probably post a few clips comparing it to Schoeps mk2 and mk4. I think the new generation of active ribbon mics like the rode, AEA Nuvo, Royer r122 mkII and phantom powered sf2, Samar vl37a, and mesanovic 2a will find a solid role as spot mics for classical music recording.
Old 21st June 2017
  #3
Here for the gear
I would think the NTR works well on voice. I use one on violin and have experimented with it on a string quartet and it worked well.
Old 21st June 2017
  #4
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hughesmr's Avatar
Ask Christian (aka NorseHorse here on GS) about it. He engineers for Arts Laureate in greater DC and they seem to extensively use the NTR. He may be able to provide useful insight for you.
Old 21st June 2017
  #5
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Plush's Avatar
It is excellent on singing voice. I recommend using two on a AKG stereo bar. With that set up you can angle them in close together. Micing the singer in stereo is usually the way to go.
Old 24th June 2017
  #6
Hi all, thanks for your input. I did ask Christian as well and he was also very positive about the NTRs.
My pair arrived yesterday, super excited about the build quality and the stunning visual appearance. Will be testing them on two CD projects in the coming two weeks, will let you know!
Old 1st July 2017
  #7
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Quote:
Originally Posted by apotheosis View Post
Hi all, thanks for your input. I did ask Christian as well and he was also very positive about the NTRs
Some videos by Christian use the NTR, particularly on guitar and percussion: https://www.youtube.com/user/ArtsLaureate/videos
Old 1st July 2017
  #8
Old 11th October 2017
  #9
Dear all,
as promised: an update on the NTR on classical voice.
I attach a 4-minute sample with extracts from -in order- Buxtehude (soprano), Bach (duetto) and Bach (alto).
https://www.dropbox.com/s/c7wvke4xq8...tr_16.wav?dl=0

All come from the same CD recording session in a small chapel. DPA 4006TL with APE40 as mains.
Buxtehude was recorded with the church organ and the two altos next to the player, blending in with as little definition as possible.
Bach was recorded with a portative organ with instrumentalists around and choir/soloists behind the instrumentalists with spot microphones.

Buxtehude has no spot microphones but the NTRs on the voice.
Bach duetto has a 4011 spot on cello and one on the double bass, and the NTRs on the voice(s), the alto aria has the 4011s on flute and oboe instead (and no spots on string basses).
I added a little bit of Variverb on the NTRs to blend in with the mains. No EQ used at all.
Balance to my taste is too much voice-centered, but it is what the director wants.

Lovely microphones if you ask me :-)
Old 14th October 2017
  #10
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fred2bern's Avatar
Many thanks for this file, it is really interesting to hear "in situ" this microphone as a vocal spot mic.
Old 6th October 2018
  #11
Gear Maniac
 
ChrisNunchuck's Avatar
RODE NTR is lovely m ic

It is a lovely mic. I agree. Thanks for sharing.
It sounds great with a lot of gain from a Focusrite ISA preamp., especially for close intimate vocals. I know ribbons are supposed to have a proximity boost, but the NTR ribbon doesn't get boomy like most cardioid mics, it just really enhances the low part of the voice. Breathy speech or singing sounds amazing like that without getting sibilant or whispy.
Old 2 weeks ago
  #12
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Quote:
It is excellent on singing voice. I recommend using two on a AKG stereo bar. With that set up you can angle them in close together. Micing the singer in stereo is usually the way to go.
Just curios. I have seen 2 mics on classical singer. Can you please explain this technique? Any rule on how far the mics should be set apart? Also What do you do in the mix regarding to panning? Is this technique to avoid the high energy that one mic right in front would catch?
Old 1 week ago
  #13
Gear Nut
 

Quote:
Originally Posted by musicmixer04 View Post
Just curios. I have seen 2 mics on classical singer. Can you please explain this technique? Any rule on how far the mics should be set apart? Also What do you do in the mix regarding to panning? Is this technique to avoid the high energy that one mic right in front would catch?
spaced pair vocal spots
Old 1 week ago
  #14
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Quote:
Originally Posted by musicmixer04 View Post
Just curios. I have seen 2 mics on classical singer. Can you please explain this technique? Any rule on how far the mics should be set apart? Also What do you do in the mix regarding to panning? Is this technique to avoid the high energy that one mic right in front would catch?
What is this microphone array?
Old 1 week ago
  #15
Gear Nut
 

Using a pair for solo voice gives you options to create front-to-back perspective. Using one solo mono mic can box the sound into a narrow space if you use more than a small amount.

Returning to the original subject of whether to use an NTR or a pair of NTR's for solo vocal spot - I would say it is most definitely a useful choice. Fig of 8 is a useful pattern for eliminating excess acoustic and I rarely leave home without NTR's in the back of the van for a recording - especially if we are recording somewhere with either too big an acoustic, or an oppressive acoustic. They are clear and directional, but with no hint of being aggressive. For me, I would normally work with them parallel rather than in Blumlein in this application. Also: NTR's have plenty of output so you do not have to spend an arm and a leg on mic pre's optimised for passive low output ribbon mics.
Old 1 week ago
  #16
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Thanks for replies I will try this technique next time I record a singer in a nice acoustical space.
Old 1 week ago
  #17
Gear Maniac
Some weeks ago i did a soprano recording with two pairs, TLM170s in cardioid mode and Rode NTRs. Both did well. The NTRs sounded more flattering, the TLMs gave us a bit better articulation. The singer chose the NTR pair.
Old 1 week ago
  #18
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celticrogues's Avatar
 

What are you guys using for shock mounts on your NTR's? In general I love the Rycote USM mounts, but the specs on the heaviest duty version of the USM say its good for mics weighing up to 900 grams, and the NTR specs out quite a bit heavier at 1047 grams.

Any alternatives?

-Mike
Old 1 week ago
  #19
The NTR is internally shockmounted. Works perfectly.
Old 1 week ago
  #20
Gear Maniac
 
ronmac's Avatar
Quote:
Originally Posted by apotheosis View Post
The NTR is internally shockmounted. Works perfectly.
I will second that. Never used them on stages with dancers, but for regular music work no issues.
Old 1 week ago
  #21
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celticrogues's Avatar
 

Quote:
Originally Posted by apotheosis View Post
The NTR is internally shockmounted. Works perfectly.

Quote:
Originally Posted by ronmac View Post
I will second that. Never used them on stages with dancers, but for regular music work no issues.
Awesome, thanks!

-Mike
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