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Old 24th May 2020
  #236
Lives for gear
 

Quote:
Originally Posted by rumleymusic View Post
A good thing you are not Rode and you are definitely not Tony Faulkner. This content is not controlled by Rode. It is not up to them to remove it. Nor does any of it reflect poorly on Tony Faulkner. I agree the content is not good. Most of the demonstrations have been pretty poor quality. That harp video was entirely mono if anyone caught that, even though it was recorded with XY. The first samples I heard, however, were quite good compared to the Neumann KM184, so I am reserving judgement.
Good points, and delving a little deeper into that harp video, it would seem that Rode supplied Curtis Judd (a hardware reviewer with a strong bias towards video capture...he professes to not have much specific music recording knowledge and experience, and in this particular situation it clearly shows !)

Judd mentions at one point that Rode supplied the mics unrequested by himself, so if Rode are simply aiming to broaden the potential application range, they chose the right guy...a video gear reviewer with substantial following and cred for fair and thorough product trials.

If Rode were aiming to market-position it as a specific classical music session/concert mic (not unreasonable, given the TF association ), they clearly chose the wrong reviewer in this case. I doubt Rode are that precious about their product however...a sale is sale, after all...and if Curtis Judd's approval and review-endorsement of the TF5 as a potential music video device translated to more sales, I doubt that Rode would be disappointed !

In that particular harp review application, the TF5 was probably overkill (a Rode M5 or even NT5 would have done the job, at a much lower cost !)...but it just shows that once a product is released to market, the mfr probably has less control over its adoption than we might care to imagine...even when, as in this case, their targeting of a reviewer was somewhat askew.

If the mic has failed to occupy its 'designated niche of appreciation' for large or small ensemble acoustic recording, it's perhaps down to folks like us not buying handfuls of them, and then showering them with the same sort of cult adoption kudos bestowed upon the CM3/CM4 ?

Very different price points, but still....we're holding back, waiting for 'someone else with heavy concert recording street cred' to bestow unreserved praise upon it. Maybe they already have, but we just ain't buying it ?