Rode NT-2

Semi-pro recording
About 10 years recording all sort of bands from punk to folk
I mainly use Cubase sx2+HDSP9652+Presonus Digimax 48 and Digimax FS

Everything is said before, so I just want to "certify" that "There is a slight hype in the 3k" like someone said before that is very naughty for some vocalists which already have very bright and harshing voices... nothing that a little Q-down can resolve. I use voxengo warmifier for that low ends sounds "real". For the rest... very very clear condenser mic... and with a really good SPL (I have used for some punk and pop electric guitars + SM57 with very good results).

About construction... is a clear PRO mic. I have used it very much during about 3 years (in a smoke allow studio jeje) and is still like the first day... and sounds like it.

Semi-pro producer/engineer with too much gear. I love toys, so haha... I am an audiophile too...

No frills, dual pattern F.E.T. large diaphragm condenser mic. Cardioid and Omni patterns. It works great on pop female vocals, dull or dark acoustic guitars, mono drum overhead, or a spot mic for a jazz ride. Not too boomy. Nice roll-off switch. -10dbu pad. NOTE: this mic is clinical sounding without a decent preamp that can give it a vintage vibe. It rocks running through a Joemeek Oneq/Sixq/Threeq. The meekualiser is great for sculpting this mic. There is a slight hype in the 3k which may be what you want, but I tend to pull it down 1db with a wide Q and it sounds more natural. If you use this mic on lots of sources, the 3k will add up and make the whole recording sound a little brittle and harsh. A tube preamp is a great compliment and warms up the low end. Now I have Blue and Neumann stuff so I just use the nt2 for a room mic and I must say It excels as a room mic in omni mode. Very detailed and crisp. Excellent value for a used one that goes for $300-350. Shock mount is cheap but works well. Rubber elastics will break, but you can make your own out of old bike tubes and a scissors.

Making Music for 15yrs. Film industry for 5 yrs. I am a sole trader and do NOT work for a studio... good and bad... means I have to know how to use alot more gear and I have to figure out the way to get best results for myself. Generally means I have to research alot too. I use ProTools for it's editing features... DAW's are pretty much the same these days... the editing features on PT just make more sense to me personally. My monitors are Genelecs and the trusty SONY MDR phones.

Condersor, multi patterned with pad. This was my first condensor mic that I myself personally purchased. I have had mixed results with performance depending on the source. I have found it to be very good for V/O's, alright on accoustic instruments (mainly guitar)... funnily enough it is a lovely mic for a ride cymbal (close)... but, again, that depends on the style of music.
I would not really use this mic without a nice warm preamp really. I have it set up all the time in my room here and there is a tube pre channel with a tube leveler after. It is sounding quite nice now for alot of things this way... mind you,.. that's a few thousand dollars extra in the chain if you think about it.
I want to try the Classic 2 because I hear that it is much more the sound that I am trying to achieve. If you do your processing inside your DAW then you will still get a decent result from this microphone with the addition of a nice EQ and warmer (eg.PSP NEON/ VINTAGE WARMER). That's personal too but I love the PSP plugins, can't speak highly enouighh of 'em.

I've been playing for a couple decades, and have been recording on a Yamaha AW-4416 for five years; before that on crummy little 4-track cassette decks. Currently working on self-produced CD #4

I've used this mic primarily for vocals and acoustic instruments (guitar, mandolin, ukulele, tiple, etc.).

I got the NT2 to replace a Rode NT1 that was stolen a few years back, and which I liked quite a bit. The NT2 is an entirely different beast altogether, though. While the switchable polar patterns are nice (though I almost always use cardiod), the mic has a very strong and distinctive 'voice', which is very thin and, to my ears, grating. I can imagine it working well in some situations, and it has worked for me on at least one project involving omni micing of an acoustic group with a very strong female singer. In that case the result was very hot and live sounding, if a bit thin. Usually, though, the mic just sounds thin.

If you're looking for one good, all-purpose mic for a home project studio, this probably isn't your best bet. If you're looking to expand your palette of sounds with a second mic, maybe this would work, though I'd imagine there are better options out there. I like what it can do with acoustic guitar - it gives a very bright, shimmery sound, though again there's not a lot of depth to it. Overall, though, if I could do it over I would not buy it again.

Over 20 years as a musician. Recording since the early/mid 90s. DAW: Cubase SX. Mackie HR824s.

I have primarily used this mic for vocals and acoustic guitar.

If I were rating it relative to its price, I would give it an 8. It's not bad for a first condenser mic. It was my first condenser years ago and for what I paid for it and where I was at the time skill-wise, I have no regrets. Even though it does not sound fantastic, it does sound reasonably pleasing on a variety of sources. Unconditionally (relative to the best LDCs I've since used), I'd give it a 4. I would not use this mic if better mics were available. So 6 is an average.

Compared to high end mics like a Neumann U87, this mic sounds thin, harsh/edgy, grainy, flat, and 2-dimensional. If you've never used higher end mics (although for sure you have heard them on recordings), you might think this mic sounds wonderful.

If you cannot afford better, or if you are a hobbyist, this mic will take you a long way. Maybe all the way, depending on your aspirations and how critical you are. Just do not have illusions that it sounds "just like" a $2,000 mic. Like all of the lower priced Rode mics I've used (including the NTK) this is a mic that, if serious about your recordings, you will sooner or later eventually outgrow.

If you are serious about quality recordings and in it for the long haul, I suggest saving a little more and buying a keeper: Neumann, BLUE, Gefell, Soundelux, higher end AKG or Audio Technica, etc.

I've been making music for 17 years, recording to home setups for almost as long. I'm currently recording to a DAW. Listening on Yorkville YSM1's.

A very nice value for a microphone with a great set of options. Really shines on certain voices (folksy females), but sounds thin on others (male rock shreiking) where a dynamic might do well. The bass rolloff is really useful here, it allows singers to get right on top of the mic and sing quietly for that in-your-head sound. Great as a room mic in omni mode or as a mono drum overhead. I also like it on smaller guitar amps. It didn't float my boat on acoustic guitar, but it worked pretty well using to mic the fretboard in combination with a small diaghram condenser at the 12th fret.

An amazing value for the home recordist.

I have recorded music since 1987. I bought my Rode NT2 three years ago. Very good for any style.

It is a condenser mic. Omni and cardioid.
I was looking for a good mic for vocal and acoustic guitar.
Rode NT2 is the perfect mic for vocals and acoustic guitars.
It sounds clear, with bright, and alive.

14 years home recording, most of them with substandard gear. I record to my old VS-840 and just released a pretty nice-sounding solo album made with it and a R0DE NT2.

Playback is either on an Alesis Monitor One/RA-100 system, in the car, or on friends' systems.

The R0DE NT2 is and Australian-made large diaphragm condenser mic with shock mount and (vinyl) carrying case. I bought it to use on vocals for a Beatlesy vintage vibe, and for its price range, I am not disappointed in its performance.

I should note that I power it with a JoeMeek preamp/EQ which happens to include a glorious optocompressor. As lusciously as it picks up my quietish, midrangy, expressive male singing voice, it can also convey a surprisingly balanced drum set signal. I've often used it as a single overhead for mono drum kit recordings. Through the compressor, a very usable "Revolver" drum sound is possible.

If I had to describe the tonal quality of the NT2, I'd say a little hyped in the upper midrange (which I actually emphasize with EQ!) with plenty of high-end sheen and enough bass to "carry that weight."

A very useful feature is the bass rolloff switch, which is excellent for keeping lowest-end mud out of drum, acoustic guitar or vocal signals, as well as the optional of having a fully omnidirectional pickup pattern, perfect for group vocals.

I didn't have the money to spend on a Neumann and I was partially sold on the vague reviews that the NT2 had a vintage (or at least faux vintage) flavor. I'd happily buy a second NT2 as an additional drum overhead or backup vocal mic.

10 years making music
only non-professional recording
recording to Hard Drive
alesis RA100 & Monitor ones

The Rode NT2 is a condenser with 2 patterns - I've used it to record vocals and acoustic guitar and it sounds fantastic - i'd highly recommend it for any kind of recording.