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Rode NTR Active Ribbon Microphone

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Price:
$729.00
SKU:
NT Ribbon
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Product Description

  • Highly sensitive 1.8 micron ribbon element
  • Bi-Directional Polar Pattern
  • Internal Shock Mounting System
  • Custom designed and manufactured transformer
  • Heavy-duty matte black finish
  • Ribbon-securing travel screw supplied
  • Designed and manufactured in Australia
  • One free ribbon replacement during warranty period
  • Ten year extended warranty with online registration

At first glance of the NTR you’re aware that it’s very special and unique – an intricate blend of art and science.

Designed to hang in the world’s finest recording studios and performance halls equally as well as home studio spaces, its existence is a labour of love for RØDE. Every element of the NTR, from the transformer to the ribbon element itself, has been designed and created in-house at RØDE’s headquarters in Sydney, Australia. All with the aim of crafting the finest ribbon microphone available.

Sonically, the NTR is capable of reproducing unprecedented high frequency detail and accuracy, addressing common criticisms of other ribbon microphones, while opening up the possible usage scenarios considerably. This allows it to record sound sources that usually require a more sensitive microphone element.

NTR Specifications
Acoustic Principle Velocity Transducer
Active Electronics Step-up Transformer and signal balanced preamp stage
Polar Pattern
Address Type Side
Frequency Range 20Hz - 20kHz
Output Impedance 200Ω
Maximum SPL 130dB SPL (@ 1kHz, 1% THD into 1KΩ load)
Sensitivity -30.5dB re 1 Volt/Pascal (30.00mV @ 94 dB SPL) +/- 2 dB @ 1kHz
Equivalent Noise Level (A-weighted) 15dB-A
Power Options +48V phantom power
Weight 1047gm
Dimensions 216mmH x 65mmW x 65mmD
Output XLR Output
Warranty 1 year with free extension to 10 years following registration here
NTR Reviews

Where the NTR really shines is the combination of its active circuitry with that whopping transformer to provide oodles of gain with very little noise. The output level is wholly un-ribbon-like. If you come to the Rode NTR expecting to have to pony up for a preamp with 70dB of ultra-clean gain for any quieter sources — a la a conventional ribbon design — think again.

Overall, the RØDE was a joy to work with. It gives you that classic ribbon character, with a little more top-end extension. The key here is a much higher output level than other ribbons and a sound that takes EQ superbly, without the burden of unwanted noise. With the attention to detail RØDE puts into getting these ribbons right, the sound I was hearing will no doubt be the sound you will.

Mark Davie
Audio Technology
IN STOCK!

The effect known as the wah pedal has been used in songs like Jimi Hendrix’s Voodoo Child (Slight Return), Cream’s White room, Rage Against the Machine’s Bulls on Parade, and many countless other iconic songs throughout rock history. Used as a way of putting more expression and “voice” into a guitar melody, this effect has been heard time and time again in many different forms. At Dunlop we’re proud to be the world’s leader in wah pedal technology with the Crybaby.

 

Today we’re going to take a closer look at the Crybaby 535Q. This is basically a standard Crybaby with fully flexible options, and is the closest thing you’ll get to the ultra-customizable Crybaby Rack Unit.

 

With the 535Q you have the ability to take control over your wah tone. You can select your frequency range for the “sweep” of your pedal and then further adjust the intensity with the “Q” control. Once you’ve got your sound, make sure it gets heard with a variable boost of up to 16db that can create endless sustain on any note.

 

The 535Q works like a standard Crybaby, but adds a whole slew of customizable functions. But before we get into those lets take a look at how a standard Crybaby works.

 

How it works

A wah pedal works by rocking your foot back and forth on a foot pedal, this creates a peak in the frequency response that can be “swept” up and down the frequency spectrum. You should hear a dramatic “wah sounding” emphasis when your frequency range hits the notes you are playing.

 

What all this means is that when you hit a note on the guitar and you adjust the wah pedal, it produces a vocal like “wah” as you go from heel to toe when you “sweep” the effect. By rocking your foot back and forth on the pedal, you can change the effect that the crybaby has on the tone of your instrument. Toe down will give you more treble; heel down will give you more bass. The speed and amount of the effect you use will depend on your style of playing. When placing the pedal in one position, you will hear a boost in that particular frequency. This boost can be used to add sustain and create feedback of a desired overtone.

 

The 535Q adds the ability to adjust the sweep range, peak intensity, and boost control. We’ll go over those features here…

 

Wah Range

The wah range selector knob allows you to select a tonal range that is best suited for your expression needs. By turning the knob clockwise, you get lower register ranges and counter-clockwise for the higher ranges. High ranges tend to sound more punchy and sharp as in Hendrix’s Voodoo Chile, while lower ranges have a more deeper growling feel like Jerry Cantrell’s Chewy.

 

Q Control

The Q adjustment controls the sharpness of the bandpass filter. High Q is a very selective and sharp, choose a high Q in combination with high gain for super shrill leads. The lower Q settings has a very broad bass and has more of a musical quality that doesn’t affect your tone as much as high Q settings.

 

Boost Control

By turning the volume control knob you can control the amount of gain in your signal. Turning the knob clockwise will increase your gain to up to 16db. Hit the red boost button to activate the boost. This is great for any lead work that you think might need a kick.

 

Pedal Order

Most players put their wah pedal before any time based or ambient effects such as reverb, delay/echo, chorus, flange, and vibrato. This adds the effect to their selected wah sounds. Distortion followed by wah sounds very different from wah followed by distortion. The former, distortion then wah, causes the wah wah to make a very overstated, duck-like quacking. The opposite way is much more subtle.

 

- See more at: http://www.jimdunlop.com/blog/crybaby-in-depth-the-535q/#sthash.JJGXRseS.dpuf

The effect known as the wah pedal has been used in songs like Jimi Hendrix’s Voodoo Child (Slight Return), Cream’s White room, Rage Against the Machine’s Bulls on Parade, and many countless other iconic songs throughout rock history. Used as a way of putting more expression and “voice” into a guitar melody, this effect has been heard time and time again in many different forms. At Dunlop we’re proud to be the world’s leader in wah pedal technology with the Crybaby.

 

Today we’re going to take a closer look at the Crybaby 535Q. This is basically a standard Crybaby with fully flexible options, and is the closest thing you’ll get to the ultra-customizable Crybaby Rack Unit.

 

With the 535Q you have the ability to take control over your wah tone. You can select your frequency range for the “sweep” of your pedal and then further adjust the intensity with the “Q” control. Once you’ve got your sound, make sure it gets heard with a variable boost of up to 16db that can create endless sustain on any note.

 

The 535Q works like a standard Crybaby, but adds a whole slew of customizable functions. But before we get into those lets take a look at how a standard Crybaby works.

 

How it works

A wah pedal works by rocking your foot back and forth on a foot pedal, this creates a peak in the frequency response that can be “swept” up and down the frequency spectrum. You should hear a dramatic “wah sounding” emphasis when your frequency range hits the notes you are playing.

 

What all this means is that when you hit a note on the guitar and you adjust the wah pedal, it produces a vocal like “wah” as you go from heel to toe when you “sweep” the effect. By rocking your foot back and forth on the pedal, you can change the effect that the crybaby has on the tone of your instrument. Toe down will give you more treble; heel down will give you more bass. The speed and amount of the effect you use will depend on your style of playing. When placing the pedal in one position, you will hear a boost in that particular frequency. This boost can be used to add sustain and create feedback of a desired overtone.

 

The 535Q adds the ability to adjust the sweep range, peak intensity, and boost control. We’ll go over those features here…

 

Wah Range

The wah range selector knob allows you to select a tonal range that is best suited for your expression needs. By turning the knob clockwise, you get lower register ranges and counter-clockwise for the higher ranges. High ranges tend to sound more punchy and sharp as in Hendrix’s Voodoo Chile, while lower ranges have a more deeper growling feel like Jerry Cantrell’s Chewy.

 

Q Control

The Q adjustment controls the sharpness of the bandpass filter. High Q is a very selective and sharp, choose a high Q in combination with high gain for super shrill leads. The lower Q settings has a very broad bass and has more of a musical quality that doesn’t affect your tone as much as high Q settings.

 

Boost Control

By turning the volume control knob you can control the amount of gain in your signal. Turning the knob clockwise will increase your gain to up to 16db. Hit the red boost button to activate the boost. This is great for any lead work that you think might need a kick.

 

Pedal Order

Most players put their wah pedal before any time based or ambient effects such as reverb, delay/echo, chorus, flange, and vibrato. This adds the effect to their selected wah sounds. Distortion followed by wah sounds very different from wah followed by distortion. The former, distortion then wah, causes the wah wah to make a very overstated, duck-like quacking. The opposite way is much more subtle.

 

- See more at: http://www.jimdunlop.com/blog/crybaby-in-depth-the-535q/#sthash.JJGXRseS.dpuf

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