The Definitive Rode NT5 Review
Incredible value for a small versatile microphone
Reviewed by: Paul Narang
Review date: January 2025
Current price per pair: Around $300-$400
Rode NT5 Review
| Pros: | Cons: |
| Solid build quality Exceptional value Extremely versatile mic | Sensitive to plosives on vocals |
Rode NT5 Review
The Rode NT5 is a small diaphragm condenser mic, often used in overhead pairs to record choirs and drum kits. It has a multitude of uses within the studio, sounding particularly good on hi-hats, cymbals and acoustic guitars.
Known for its warm, crisp and detailed sound, the NT5 is a staple of many recording engineers for live and studio use.
What is it?
The Rode NT5 is a compact condenser ‘pencil mic’ with a tight cardioid pick up pattern. It’s made by Rode, a relatively new Australian company whose first mic in the 1990s, the vocalist’s NT1, was and still is a huge success. Rode quickly gained a reputation as a company offering solidly built microphones at a fraction of the price of their competitors for the home studio.
The NT5 is known for its versatility and can be used to record a wide range of sound sources. In addition to acoustic guitars, drums and choirs, a pair of NT5s can be used to record string quartets and jazz bands, as well as spoken word and many acoustic instruments with transparency and detail. It’s cardioid polar pattern helps to remove the sound of the room, making it ideal for home studios without professional acoustic treatment.
Other variations of the Rode NT5
There are several similar models to the NT5. The NT55, NT6 and NT4 (as well as the NT5) are compatible with the interchangeable omnidirectional NT45-O capsule. And all mics, apart from the TF-5 come with a 10-year guarantee.
- Rode NT55
The Rode NT55 is virtually identical to the NT5, but with the addition of two attenuation pads at -10dB and -20dB, and two high pass filter settings at 75Hz and 150Hz. It also comes complete with the NT45-O omnidirectional capsule, so you can choose between both.
- Rode NT6
The Rode NT6 is a version of the NT5 designed to get into compromising spaces and positions. It’s made up of a 45mm body section which connects to a cardioid capsule, via a 3 metre kevlar cable. It also has a -10dB attenuation pad and 80Hz high pass filter.
- Rode NT4
The Rode NT4 is a stereo version of the NT5, with two cardioid capsules placed at a 90 degree angle, fixing it in a near-coincident ‘X-Y’ stereo position. It also has the option of using a battery instead of phantom power and has both mini jack and dual XLR outputs. Read more about different stereo miking techniques and how the NT4 and NT5 compare later in the article.
- Rode TF-5
With a distinctive mat black ceramic finish, the Rode TF-5s were produced to compete with the higher-end small diaphragm condensers such as the Neumann KM184, and mics from DPA and Schoeps. Designed by classical music engineer, Tony Faulkner, they’re only available in pairs, and like the NT5, have no pad or EQ switches. Despite some good reviews, the TF-S hasn’t caught on as a pro-level industry standard microphone.
- Rode M5
At about half the price of NT5, you could consider the Rode M5 if the NT5 is out of your price range. It’s noisier and less detailed than the NT5, but does offer good value if you’re on a very tight budget.
In the box
I reviewed a matched pair of Rode NT5 microphones (NT5-MP) with consecutive serial numbers. The NT5 is also very effective as single mic, or used in combination with other mics. The NT5s came with a soft vinyl zip case, a downgrade on the hard injection moulded case the NT5s previously shipped with.
Inside each box:
- NT5 microphone
- WS5 foam windshield
- RM5 stand mount
- ZP1 soft case
Rode NT5 Polar pattern
The NT5 uses a cardioid pickup pattern, which looks like an upside down heart shape around the head of the mic. It picks up sound mainly from the front, while rejecting sound from the back and sides.
The cardioid pattern is well suited to a home studio where the acoustics are less than ideal. It will pick up the sound of the vocalist in front of the mic, while rejecting the sound of the room.
Due to its cardioid polar pattern, The NT5 isolates the desired sound source effectively while minimising unwanted ambient noise, making it ideal for both close-miking and room-miking scenarios.
Unlike many other microphones, the Rode NT5 maintains a consistent cardioid pattern across the full frequency spectrum.
Expanding the NT5’s versatility, an interchangeable omnidirectional capsule (NT45-O) is also available from RØDE separately.
No on/off switch on the Rode NT5?
There’s no on/off switch on the NT5 or any of the variations listed above, with the exception of the stereo NT4, because it can be powered by battery.
Pro-level mics generally don’t have on/off switches, because it make it less likely to be accidentally turned off during a performance. The recording engineer can easily mute the mic from the mixing desk instead, so there’s less to go wrong in a live setting.
Phantom power for the Rode NT5?
As a condenser mic, the NT5 requires phantom power. This is a small, low-voltage current sent to the microphone from a microphone preamp, mixing desk, or audio interface. Most condenser mics require 48 volts of power, but the Rode NT5 can operate on voltages as low as 18v without comprising the sound quality.
Most industry standard desks or interfaces are capable of providing phantom power, which is sent through the XLR cable to the microphone. If your audio interface or mixer doesn’t provide phantom power, there is a solution: connect the NT5 to an external 48 volt phantom supply. Then connect the output of the phantom supply to the mixer, or audio interface.
Connecting the NT5
The Rode NT5 connects with a standard XLR cable directly to the audio interface or mixer. XLR are the standard connectors on all professional studio equipment. They’re ‘balanced’, which means the cables are shielded from interference and carry a higher signal than unbalanced cables.
XLR cables are the only cables capable of carrying phantom power to a mic.
Rode NT5 Design and Build
The first striking feature of the NT5s is the build quality – the robust machined brass casing with nickel plating lends them a premium feel and inspires confidence for live or field use. They fit snugly into the microphone clips too and are tightened with a lever – no chance of these slipping and falling. It’s also nice to see that the clips are made with heavy duty plastic, with metal thread inserts.
The NT5s are small mics, just over four and a half inches tall (11.8cm), with a clean minimal design. There are no buttons or switches, just the RØDE logo at the top, and the hallmark gold dot below it. Around the base are the reassuring words “Made in Australia”, along with the serial number and power voltage.
A metal mesh screen at the top of the NT5 protects the mic capsule, which incorporates a 1/2 inch Mylar BoPET diaphragm, sputtered with microscopic gold particles. Gold sputtered diaphragms are quite standard for modern condenser mics – they add electrical charge to the polyester material, which is favoured over metal for its strength, light-weight, and flexibility .
The incorporated preamps are JFET transformerless, which are good for dealing with high sound pressure levels. And the use of bipolar transistor output buffers provide a transparent modern sound with a wide frequency response.
To emphasis their quality, both microphones come with a 10 year warranty.
Rode NT5 Dimensions and Weight
The NT5 has a slim discrete profile, slightly narrower but half a centimetre longer than the lightweight Neumann KM184 (reviewed here), but shorter and lighter than the AKG C451 B (reviewed here). Its small size makes it ideal as a general purpose instrumental microphone that fits into compromising spaces, or to mic up live ensembles with minimal visual intrusion.
- Diameter: 20 mm (0.79″)
- Length: 118 mm (4.65″)
- Weight: 100g (3.53 oz)
NT5 Frequency response
The Rode NT5 has a frequency response of 20Hz – 20kHz, spanning the full range of human hearing. It has a largely flat response with a bass attenuation of 4dB beginning around 200 Hz and flatlining at 100 Hz. It is natural sounding, and very handy if you’re using it as an overhead for recording a drum kit, as it minimises the kick and reduces other low frequencies from the snare or toms.
There’s also a subtle 2 dB boost between around 5 kHz and 15 kHz, which gives the NT5 its characteristic sparkle, making it so good for capturing crisp and detailed instruments. You can use these to faithfully capture naturally bright sounds such as cymbals, hi-hats or steel string guitars or to add sparkle to a dull piano or guitar with worn-out strings.
You can boost the bass by bringing the microphone closer to the sound source and making use of the “proximity effect”. But be cautious if you plan to use this with vocals, as you’ll need to find a way to reduce the plosives.
Rode NT5 Sensitivity and Impedance
The NT5 has a sensitivity rating of 12mV/Pa, which is around average for a quality small diaphragm condenser mic. It’s a good balance between having enough sensitivity to be used to record room ambience, and not being overwhelmed as drum kit overheads.
The Rode NT5 has a max SPL of 143 dB, meaning it can handle some very loud sources – but as a condenser mic, it can still be overloaded with extreme volume. It isn’t easy to give exact examples, as it depends on the frequency of the sound source, and how far it is from the mic. The low impedance of 100 ohms ensures good signal integrity over long cable lengths.
The NT5’s self-noise of 16 dBa is very respectable, and I certainly didn’t detect any noise or hiss issues while recording. On self-noise, I’d recommend the NT5s for critical studio recordings, including classical recordings, which tend to incorporate very quiet sections.
Rode NT5 Sound quality
I found the NT5s to be bright, transparent and detailed, bringing out some real complexity in harmonically rich sounds such as metal chimes and cymbals. Despite the EQ shelf in the lower frequencies, they still captured a full, neutral sound on bigger instruments, bringing out some lovely high frequency detail on the acoustic bass with one mic near the sound hole and another higher up on the fret board.
Recording a solo violin was a bit too bright for my taste – I prefer a mic that evens out some of the inherent “scratchiness”, though it would work if you were looking for a bright and accurate sound to pop in the mix. The flute recording was impressive, recreating a wholesome, neutral, sparkling sound. It would be interesting to try a pair of NT5s for a sting or woodwind ensemble, as I think the brightness could be a distinct advantage when miking from a small distance away.
I experimented with both tenor and alto sax, each coming through with detail and accuracy. Again, if you’re looking for that smooth old-school jazz sound, you’d be better off with a ribbon mic, but for modern pop solos and horn sections, the NT5s provide an exciting, upfront sound.
I found mic placement to be important with these mics, as they performed best when on-axis (pointing directly at the sound source). They simply sounded fantastic recording hi-hats and cymbals as part of a drum kit, bringing out tons of bite and crisp detail. Even on the snare, I could achieve a level of detail I wasn’t used to, and would recommend pairing it with a warmer mic, and adjusting the balance in post.
There were no issues with self-generated noise from the mics at all, and with the right mic placement, I could get a very natural sound. With the cardioid pick-up pattern, it was simple to hone in on the sound of the instrument without picking up reflections from the room.
Rode NT5 for recording guitar
Since its inception in 2002, the NT5 has become a favourite for recording acoustic guitar. With a bright open sound, a pair of NT5s delivers sparkling and clear recordings, not just on guitar but also on a whole range of plucked string instruments such as the banjo, mandolin and harp.
I tested it with two guitars – a parlour steel string guitar, and an ageing nylon string classical guitar, which I’ve had since my days at music college. I can confirm that the NT5s performed admirably on both instruments.
Strumming the steel string resulted in a crisp and tight recording with plenty of high end grit, ideal for cutting through mixes. Fingerpicking styles also worked very well – clarity, openness and balance being the stand-out features.
While recording the nylon-stringed classical guitar, I favoured the XY stereo miking technique (more below), a couple of feet away from the instrument. Again the detail was outstanding, and the natural brightness of the mic worked wonders for the slightly dull strings. Some sections of the recording were very quiet, and I found the NT5s to be capable of reproducing remarkable subtlety and nuance, some of which I wasn’t aware of when listening to the guitar being recorded.
A pair of NT5s are also a good choice for guitarist/singers. You can experiment with mic positioning to get the type of sound you need – I favoured placing both mics a couple of feet away in an XY configuration, but you can experiment with closer miking depending on the sound you’re after.
On paper, the Rode NT5s generate a “medium” amount of self-noise, but I didn’t encounter any noise problems during the quiet recordings. The sound was already balanced and only needed a touch of EQ to suit my taste.
NT5 in the studio
The NT5 is a staple in both home studios and professional recording studios. It’s generally seen as a cheaper alternative to the Neumann KM184 (reviewed here), while still delivering a respectable, high quality sound.
The Rode NT5s are great all-rounders and can be used for acoustic guitars, percussion, drum overheads, flute and woodwinds, violin and strings, saxophone and brass, small acoustic ensembles, choirs, and even piano. They’re a good choice when you need to create an accurate, uncoloured reproduction of your sound source with a lot of detail.
Used as a stereo pair for recording ensembles, the stereo imaging was wide and accurate. The same goes for drum overheads, where the cymbals and hi-hats kept their crispness and detail with no harshness or distortion. I did have to experiment with mic placement to get the sound I was looking for, which I achieved by putting both mics on a bar and moving them around together while listening to the signal in my headphones.
Although you wouldn’t necessarily think of Rode NT5s as vocal microphones, I did test them for spoken word, and on my medium-deep male voice, found them to be more than adequate. My speaking voice tends to benefit from a brighter mic, so if you have a particularly high-pitched voice, it might be too bright. If this is the case, you can get much more bass by getting up close to the mic. Watch for the plosives though – you’ll need the windshield, and a technique where you’re slightly off axis to the mic.
The Rode NT5s are also used extensively for recording choirs in a stereo pair. I’ve heard good reports from engineers on a variety of choirs, from gospel to classical. The mics tend to be set up in front of and above the choir on tall stands, either in XY or placed apart from each other.
Rode NT5 vs Rode NT55
While both the NT5 and NT55 offer similar sound quality, the NT55 has some extra features, which make it more versatile. It comes with two interchangeable capsules – omnidirectional and cardioid (rather than just the cardioid with the NT5) and has two switchable high pass filters at 75 Hz and 150 Hz.
This gives the NT55 several advantages. An omni capsule can be used for ambient recordings, or to capture a more open and natural sound, as long as the recording environment is sufficiently acoustically treated. And the high-pass filter can be used for cutting out mic stand rumble, distant traffic and mitigating the proximity effect of you’re utilising very close mic placement.
Both microphones have robust nickel-plated brass bodies, though the NT55 is slightly heavier and more complex in design with a switch on the side. While there are pros to the extra features, they come at the expense of simplicity and the possibility of things going wrong during performance. They both come with a 10 year warranty from Rode.
The NT5’s simple cardioid design makes it the best no-frills choice for studio owners who need a high quality multi-purpose mic. It’s perfect for capturing instruments in their fullness without the sound of the room. Whereas the Rode NT55 might be more suited to someone with a bigger budget and would make use of the extra features. There’s also the price to consider – an NT5 retails for less than half the cost of an NT55.
Rode NT5 vs Rode NT4
The Rode NT4 is a stereo version of the NT5 with two of the same cardioid capsules fixed in a 90 degree alignment. If you’re planning to always use your NT5s in an XY stereo pair, the NT4 could save you from the hassle of having to set up each time.
Another advantage of the NT4 is that you can power it from either a 9V battery or 48 volt phantom power, making it ideal for a portable setup. You can use it with a camera or take it on your travels for field recordings with a Zoom recorder or similar device. A choice of two leads plug into the end of the mic, terminating into either two standard XLR sockets or a stereo mini-jack socket.
The NT4 comes with a foam windshield which covers both mics, and it has a recessed on/off switch to save on battery power (with an LED indicator). Like the NT5, there are no high pass filters or attenuation pads.
I haven’t tested the NT4 and NT5 side by side, but I believe they have a near identical sound when placed in the same position. For studio use, I would prefer two separate NT5s rather than one NT4, as it offers so much more flexibility – you could use both mics on different instruments, at two places on an acoustic guitar, or in an array of stereo miking positions.
I’d choose an NT4 for practicality if I needed a dedicated high quality stereo mic while recording video, or collecting sound samples on the move. It also has the potential to save time if you have to set up very quickly for live recording at a venue, or need to be discrete with your mics. The battery power could be a very handy backup option if you find yourself with no phantom power.
Rode NT5 vs Neumann KM 184
The Røde NT5 and the Neumann KM 184 are two similar-sized microphones, often used for the same purposes, and both popular for recording acoustic guitar. They’re both well-made, small diaphragm cardioid condenser mics, the NT5 manufactured in Australia, and the KM184 in Germany.
At 15 mV/Pa the Neumann KM 184 is more sensitive than the NT5 which sits at 12 mV/Pa. This means it’s more effective at converting sound pressure into an electrical signal, making it more suited to capturing quiet sound sources. But the flip side is that it has a lower SPL, meaning it can’t handle as much volume as the NT5 before distorting.
The NT5 and the KM184 have a very similar sound, with the former sounding a little darker, and slightly less detailed overall. This is where the law of diminishing returns comes in. At over twice the cost of an NT5, is the KM 184 twice as good? I don’t think so – with good mic placement and some post production EQ, you can achieve a very similar sound. But if you need the best quality sound, or the Neumann brand in your studio, the KM184s should be your choice.
NT5 Stereo Miking Techniques
One advantage of having 2 of the same microphones, is being able to capture accurate stereo recordings. The simple way of doing this is to space the mics a few feet apart. You’ll get a good recording, but there’s a couple of techniques I use which can give you a much more accurate and focused sound.
Instead of keeping the mics apart, you cross them over each other – I’ll show you my 3 favourite stereo pair positions (called XY positions).
XY – Coincident
For this placement, the capsules of both microphones are placed closely above one another in an X configuration. Make sure they don’t actually touch, or you might introduce some mechanical noise.
They’re most commonly used at an angle of 90 degrees, but you can widen it up to 135 degrees, depending on the size of the ensemble you’re recording.
XY – Near coincident
There are variations of the coincident, like the ‘NOS’ technique, where the microphones still cross each other, but the capsules are not directly on top of each other. You can still use a 90 degree angle, but the microphones cross at the rear, resulting in a wider stereo field.
Or in the ‘ORTF’ position, you have the microphones cross in the middle, with a wider angle of around 110 degrees, with the capsules positioned around 7 inches apart.
This is designed to replicate human hearing, with the distance between the mics roughly the same as between your ears. This is great for a very natural sound, and good for large ensembles and orchestras.
What else do you need?
The NT5 pair comes with two stand adaptors and windshields to get you started, but you’ll also need:
- XLR cables
I suggest investing in high quality cables for these mics. If you want some of the best XLR cables, try these. Go for the shorter lengths where-ever possible.
- Alternative capsules
You can expand the NT5’s versatility with an interchangeable omnidirectional capsule (NT45-O). You can also use these capsules with the NT4 and NT55 microphones
- Mic stand
Try a good quality boom microphone stand, with a tripod base like the K&M 210/2
Conclusion
With exceptional build quality and a clear, accurate and detailed sound, the NT5 is a workhorse for any home studio. I suggest buying a matched pair, as you’ll be able to use them with nearly every sound source or recording scenario.
I can’t think of any other small diaphragm condenser mic that comes close to the quality of the Rode NT5 for the price – they’re fantastic value for money.
Rode NT5 Frequently Asked Questions
Does the NT5 need phantom power?
The Rode NT5 is a condenser microphone, so it does require phantom power. If you need a battery-powered alternative, consider the stereo NT4.
Can you use condenser mics on stage?
Condenser mics can be a great choice for stage use as long as they’re treated with care. The NT5 is often found on stage, recording choirs or small ensembles as a stereo pair.
What polar pattern in the Rode NT5?
The NT5 has a cardioid polar pattern, but the capsule can be swapped with the omnidirectional NT45-0, effectively turning it into an omni mic.
What are the best mics for recording vocals?