RODE NT2A

A very heavy condenser mic that inspires confidence. I bought it knowing I should pare it with a sturdy mic stand.

OVERALL OPINION

I used it essentially to record vocals, since I already had an NT55 for my guitar. After several trials, various positioning changes, equalization, compression, I found I actually preferred the NT2A for my guitar (instead of the NT55). I plugged it, placed it about a meter in front of the guitar, slightly offset to the left of the guitar's sound whole, and it worked great. I hardly touched the EQ, and only did so to dig a little medium heat hum sound.
So for those looking for a microphone a little off-road, it will be a good choice

Here is an example of a picture taken of his guitar, almost nothing in treatment if not a TC Native Reverb, a limit on the master

"Vintage" studio mic, both in terms of sound and design!

OVERALL OPINION

After having looked for THE mic for a long time, including lots of comparative tests (neumann, shure, seinnheisser, akg, etc), I gave a try to this rather classic-looking studio mic. As soon as I had it in my hands I felt reassured by its weight (so watch out for the boom stands), it's not a plastic mic! I plugged it into my small H4 to make some tests and boy was I surprised: an awesome "vintage" sound! With an H4! I checked the settings on the zoom and realized everything was flat! I asked if I could test it with an avid system (which was displayed at the store) and I wasn't the only one in shock! This mic has an excellent sound quality (if you like vintage sounds), worthy of better-known products. When I asked the price I was dumbfounded! I thought it would be around $500-$600 and it was only $380 with shock-mount suspension and (removable) anti-pop filter! The store must have gone out of stock with the dozen clients that were in that day! It certainly won't oust a U87, but at this price, it's unbeatable!

Very versatile, due to the polar patterns available (omni, cardioid, figure 8) and low-pass, as well as pad: You can record percussion vocals, piano and everything else you want, with the only condition that you need to have some time to test the settings: 3 polar patterns x 3 filters x 3 pads = 27 possibilities.
Large-diaphragm, condenser mic, which means it needs 42V phantom power.
To make yourself an idea, you can make simulations at Rode's website: You need to send a recording made with another indexed mic and then listen what it would sound like with the NT-2A and these or those settings. Nice and interesting, but you should always take the results with a pinch of salt — it's their site. They also have pedagogical videos regarding the capturing of sound.
I have no shock mount, only a standard screw-on clip but the low-pass filters out lots of annoying rumble from the ground. It's practical and improves the recording, while also reducing the need for digital processing afterwards, like using a digital filter after digitization.

OVERALL OPINION

I have it since 2006 and I didn't test anything before: There was simply nothing comparable at this price point back then, I think. And I still think the same today.
I use it with an MC200 Behringer preamp, and it sounds pretty good (even if I think the tube must be changed), or with a Toneport UX2 when it is in the mood for working, or even with my small Alesis USB mixer. It comes out clean and clear out of all of them, without any shrill, but you obviously need high-end hardware to get the best out of it.
The pros: It is not only versatile, it is good and not expensive. It's even a bit too good: You can clearly hear the noises from the computer and even the fridge in the room next door. I'll have to isolate better my studio.
The cons: I got mad when I saw that it is now sold with a shock mount for the same price. And you must also be careful with mic stands that are too light, since the mic has a considerable weight. I don't know if it's fragile, I have always taken good care of it.
In hindsight, I'd buy it with the whole kit rather than having to settle for the mic clip.

This condenser mic is primarily a studio mic. I've never heard of it being used live, and wouldn't recommend it. I have used it mainly on vocals and guitars, both electric and acoustic. I've heard that they've been used to record an amped Fender Rhodes or a Wurlitzer as well, though not owning either of those instruments, I can't say for sure.

OVERALL OPINION

I've only used this mic for a few months, but I've grown pretty fond of it. While it's not my go-to mic for most projects, I like the way it sounds for some singers, particularly when I record myself. I like the rich, smooth tone that it provides. The vocals I recorded with it were rich and powerful without being raw or grainy. They are great for baritones and bass singers more than alto or sopranos, though most male vocals will sound pretty good with it. It doesn't tend to sell the higher registers as well as the lower ones. I've also had pretty good when recording acoustic and electric guitars (at least when the electric is clean, and not cranked too loud). It gives them a similarly rich, warm sound that sits well in a mix and doesn't really get in the way. I've never compared it to the older Rode models but I can't imagine it not living up to, or exceeding them, in terms of quality. I think that for the price (I got it for $400), these are not too bad, but don't make it your first condenser mic. I say this because its not exactly the most versatile condenser mic you can get and it's definitely a more particular type of sound, most likely one that you won't be using that much. It's certainly not a bad first choice but there are better ones out there. For someone with a larger collection but not much of a budget, look into this mic. It's served me well and it will most likely serve you well too.