It is really difficult to add new products to the vast availability of narrow diaphragm microphones, especially in the higher end.
Rode took the chance and threw a bomb like the new series into the pile TF5 (from the name of the designer Tony Faulkner), which joins the two series currently available on the market, namely the M5, the cheapest one and the NT5, a decidedly versatile series with an excellent value for money, which easily compares with microphones of the same range as the series MK-012 Octava, SE8 of sE Electronics and many others on the price line.
It is therefore clear that the new TF5s clash in a decidedly more delicate area, where we find historical microphones of the caliber of DPA ST2011, Telefunken M60 or the timeless ones KM184 Neumann, which they have replaced for quite a few years i KM84.
UnBoxing
The pair of microphones we received at Trees Music Studio was inserted inside an elegant and massive black rectangular box with magnetic closure and double compartment, where we find the microphones in the upper part, together with a pair of supports RM5 which unlike standard microphone stands, have a lever to orient the microphone, in the lower shelf we find the stereo-bar and a pair of WS5 Windscreen.
On the side, however, we can find a hardcover booklet \ manual, in which, in addition to the technical specifications, we are explained a little about the history and the choice of creating this microphone, which at first glance has excellent quality finishes, with a black matt ceramic coating, as explained in the booklet, patented by Rode.
The capsule, like the electronics, entirely designed and manufactured in Australia, measures approx 16 mm tall and features a ring of small holes around its bottom, thus ensuring sound entry into the back of the diaphragm, allowing for its nominally cardioid polar response. Since the capsule is removable, we can also expect the production of both hypercardioid and omni capsules in the future, while the stereo bar is well made, but perhaps slightly oversized for what are the standard uses. A disadvantage of this package is the size, which in addition to making it quite not transportable in live situations, makes us tremble at the thought of being able to damage it. Other companies over the years have taken steps to create compact case versions of their microphones, and Rode will probably do so in due course.
Technical Analysis
Moving on to the technical analysis of the microphone, we initially had to settle a very important question, as, probably for a printing error, a maximum value of SPL of 120db to a THD of 1%. At first listen, this thing immediately seemed quite unlikely and in fact, on the Rode website a value of 135db SPL, definitely more truthful. As for the other values, we have very respectable numbers regarding the equivalent noise (14db SPL) and a dynamic range of 112.6 db.
Another peculiarity is that unlike the vast majority of small diaphragm microphones, both lower and equivalent, this microphone requires a power supply phantom of 7 mA, against 3 \ 4 of many microphones. With current preamps, both internal to the sound cards, and external, you should not encounter problems, but some low-end battery recorders may not guarantee all the energy necessary for the correct operation of the microphone.
The test
As for the test, having a stereo pair of this caliber available immediately tickled our desire to compare them with the timeless Neumann KM184, kindly granted by Raffaello Pisacreta of the Mood Records. The first thing we noticed is the high sensitivity of the Rode compared to the Neumann, since on all the sources used we were always 6 \ 7db more. In fact, from the technical data sheet it is possible to see how the Rode have a sensitivity of 35mV / Pa unlike KM184 which have a sensitivity of 15mV / Pa.
The sources on which we tested the microphones were quite disparate, starting with a Pianoforte vertical Yamaha U3 of the 1963, passing through a kit of battery Yamaha Recording Custom, reaching up to one guitar acoustics Gibson J45 and a Piano Yamaha C7.
The thing that surprised us the most was the sheer amount of bass present in these microphones, which is usually difficult to achieve with small diaphragm microphones. Having aroused many doubts, we searched the internet a bit and looked for some interviews with the designer Tony Faulkner It turns out that a feature he has always hated of the small diaphragm microphones on the market was that of having a sort of high pass filter constantly inserted. This emerges by looking at the frequency responses published by Rode, compared with those of Neumann. In fact, Australian microphones have a slight attenuation of approx 2db between the 80 and 100Hz, but they begin to decline sharply only between 40 and 50Hz, instead the KM have a curve that decays slowly already starting from 100hz until you get to -12db a 20Hz. Among the 3kHz and 6kHz the Rode have a slight attenuation of about 1db and a boost of 2db by 8kHz up, while the Neumanns have a peak of 2db a 8kHz.
Upon careful analysis, therefore, the two microphones can only be united by aesthetics, but they are profoundly different. To the ear of this writer, the Neumann sound clearly represents a very versatile standard in the mixing phase when we need to shape the sound to our liking, while as you can see from the waveforms of both microphones, extracted during the shooting, the Rode is like a hammer, decided on the whole frequency range, probably too much to be a small diaphragm microphone, ready for immediate use and without too many frills. For this reason, in my opinion, slightly less sparkling and colorful than the Teutonic rival, which at first listen turns out to be slightly leaner and less open, but more user-friendly in the mixing phase.
Looking closely at the figure, we can see how the waveform of the drum shot (a 1986 Yamaha Recording Custom) in configuration A\B, it is almost compressed as regards the Rode, while more dynamic as regards the Km184, where all the peaks of the execution are highlighted.
The thing also comes out listening to the samples, where the Km184 behave like "normal" overhad, embracing above all the frequency spectrum of the cymbals and of the entire kit in function of being managed with the relative microphones next to the various drums, while the rode they manage to bring out the whole frequency range of the kit. The difference is definitely noticeable by listening to the cash and Tom . On km184 we mainly listen to the tip, on Rode we feel the whole bottom of the kick. This characterist has left us quite astonished considering that we are still talking about small diaphragm microphones. The comparison, as mentioned, was quite complicated, because obviously, finding diametrically opposite sound results, completely changes the size of use of one pair of microphones instead of the other and above all the Rode would go to give a decisive turn to what is ours classic approach to mixing for example a drum kit.
Even the attempt to match the peaks of the two microphones did not produce great results, as raising the Neumann or lowering the Rode, the true character of the microphone was often lost, so in short do not speak not at all of interchangeable microphones among them according to taste, but a choice of approach to recording and then to the mix to be kept in mind when preparing the session. This difference, on the other hand, is less perceptible, for example on the piano, where the two microphones return to be slightly more similar in use, while still maintaining important timbral differences.
Conclusion
We are faced with a high quality product, which is quite different from the recent “studio” production of Rode, which has gone more on the mid-range. This microphone can easily rival sacred monsters such as Neumann, Schoeps or DPA, but personally I have small objections to a possible live use, apart from the type of packaging in which it is sold, especially for some problems related to returns, in fact the microphones with a narrow diaphragm, they are often a salvation in quite complicated live situations, but the “sonic” qualities of this microphone could prove to be a boomerang. Clearly there is no problem in studio use, although care must be taken, as being the capsule designed to be softer and more full-bodied, it has slightly compromised the low-frequency cardioid pattern. I found the tonal quality of the pair of microphones very interesting and with its own soul.
Useful Information
Official site: Rode Microphones
Italian distributor: Midimusic.it
Product: Rod TF5
Price: About 1420 including VAT.
Vincenzo Siani
