LOW END DETAIL

When I first rigged up the mic into my Sound Devices 788T SSD and had a listen, I was surprised by how much low-end the microphone picked up. I wouldn’t have been if I’d read the specs, which clearly show the condenser capsules are well capable of a wide frequency range. Still, I’ve become familiar with the idea of ambisonics only being used for capturing ambiences, so in my mind I was expecting a much lighter tone. The low-end sensitivity makes this mic very well suited to recording musical performances and this, in my mind, is an excellent use of ambisonic technology. Sadly, I didn’t have an ensemble hanging around to test it on, but from the sounds I was able to capture and a little bit of abstraction I imagine it would have a lovely warm tone at the low end for instruments.

The primary purpose of ambisonic equipment is to capture that spherical sound-field, so I jumped right into testing its detail early on. I used a ratchet noise maker to create a constant clicking sound and then moved it around the NT-SF1 on a flat plane at first, then over and under the mic to test the elevation region. I chose the ratchet because humans can localise repeated pulses far more accurately than a constant ‘noise’ source. Human ears are pretty terrible at working out accurately where a sound is coming from, making it tricky to evaluate how accurately a sound sphere is represented, but there are some significant factors I found with this mic.

In the obvious zones on the left and right past our ears the sound field was clear and strong. What was important was the elevation movement above and below the horizon plane. I had a very clear sense of movement and differentiation as I turned my head with a VR headset on while listening to the recordings. This is an indication that the NT-SF1 is capturing good delineation between its capsules. Effective sound field content is as much about what you record as what equipment you use, but the NT-SF1 has nice separation and creates a good sense of space. I did notice a slight pop when I moved the ratchet too close to one of the capsules, so they are sensitive to close-proximity, but this is unlikely to be an issue for 90% of the uses for an ambisonic mic. Ambisonics is not generally effective for near-field content anyway, so a sound source within one meter is not a common recording target and the sensitivity is otherwise a desirable quality.

ONLY THE GOOD NOISE

The level of self-noise for a microphone such as this can be critical. Capturing ambiences is one of the primary uses of an ambisonic microphone and often that is going to be in very quiet locations. Capturing birds, gentle wind or even room tones are the sorts of things I would purchase an ambisonic mic for. I use an old wind-up clock for this kind of testing. The Sound Devices 788 I own has its own noise issues at certain gain levels, but I have been using it long enough to know exactly where those kick in and what to expect. Over 50dB input gain starts to get noticeably noisy with the 788, so anything under that is most likely the mic.

The NT-SF1 is certainly very sensitive. It clearly captured the ticking clock with good definition and even picked up my stomach rumbling. That’s what I get for doing tests just before lunchtime! As far as additional noise goes the NT-SF1 added no noticeable noise to the recordings. In fact, dialling up the input gain to even 60dB on the 788 had far less hiss than many of the mics I use regularly. I am impressed that Rode seems to place the same level of importance on low self-noise as I do for a mic such as this. As a bit of extra due diligence, I reached out to a few other recordists I know around the world to check their experience. I am aware that with some products you can get a bit of variation in self-noise. However, all the comments I got back on the NT-SF1 confirmed this mic is very good in that regard, which says a lot about Rode’s automated manufacturing facility.

WINDSHIELD WIPES OUT WIND

I have been a location recordist for nearly 20 years and apart from noisy humans, wind is the biggest issue I deal with, so of course I wanted to check out how the NT-SF1 copes with wind. Conveniently there is also a lookout tower about five minutes from where I live. Located above the forest canopy, it’s the perfect place to subject microphones to some serious gusts of wind. Initially, I removed both the provided fluffy and the top hemisphere of the windshield to expose the microphone directly to the wind.

As expected, the NT-SF1 diaphragms did not enjoy direct exposure to fairly strong gusts of wind, what was not expected was that the windshield alone cut the wind noise to almost zero. Only the very strongest of wind gusts translated as noise through the windshield. This surprised me as although I know the shield does reduce wind, I often consider them more just the structure that allows the fluffy to be mounted. In this example the addition of the fluffy cover allowed me to record the ambience and the strong wind itself without distortion. The advantage of a microphone that captures a sphere is it can have any orientation. If the wind were strong enough to disrupt one of the diaphragms, as an ambisonic mic, it could be rotated slightly to angle the wind away from a direct path to the diaphragm.

MORE THAN JUST AMBIENCES

Ambisonics is a tricky animal for recording. Up till now there have been two main choices. Either spend a fortune on a high-end ambisonic solution, or buy one of the low-end microphones available and deal with their shortcomings.

We have long needed something in the mid-range that supports quality sound field capture but didn’t require a second mortgage to purchase. Rode appears to have gone one better by providing a really solid tool, that is barely more expensive than the bottom range options.

This is a solid and capable microphone. The biggest surprise has been the way it’s changed my view of ambisonics. Previously, I’d considered ambisonics to be a specific narrow task; a useful piece of equipment to have on the occasion I need to capture a spherical field. After working with the NT-SF1, I realised I could use this mic for a far broader range of uses. Because ambisonic content can be down-mixed to stereo, mono or the various surround formats without any loss of content, I could see this microphone system replacing quite a few of my omni-directional and stereo microphones for collecting ambiences or recording music. Why capture a stereo image when you can capture a spherical sound-field for almost no extra effort?

What really tips it for me is the inclusion of all the necessary extra pieces. Rode could have offered these pieces as additional optional extras, but it knows that a shock-mount and wind protection are not in the least bit optional. I applaud Rode for including them as part of the purchase price.

Straight out of the box, you get not just an ambisonic microphone, but an ambisonic recording system.

 SUHR PT100

Guitar hero Pete Thorn has his signature on this Brainworx amp simulator which does its best work in high-gain shredder mode. The Suhr tones lean towards the Marshall Plexi side of things and there’s an FX rack with noise gate, delay and power soak to help things along. There’s a ton of gain and tone control here in a densely populated GUI and the sounds are generally fairly convincing in both dirty and clean modes. I’m yet to play through an amp simulator that really does it for me (especially in the context of a full band track), and the Suhr PT100 falls into familiar ‘almost got me’ territory. Having said that I’m a bit of an amp snob and I’m always chasing a semi-dirty tone which seems to be a tricky one for the digital emulations to nail. People will undoubtedly get great results with this plug-in and it certainly doesn’t cost $2.5k only to sit in your bedroom studio like a tolex elephant. People who play those expensive pointy-horned looking guitars will definitely have some fun with the Suhr PT100 while indie players may want to look elsewhere for more vintage style tones.

Of course, without the larger screens, you won’t know which parameter a knob is assigned to until you touch it, calling up its function on the small screen.

It may be delivered differently, and there may be less visual feedback, but the same Komplete Kontrol hands-on functionality carries over from the S Series. Things like adjusting track levels in supported DAWs, transport and automation control, arpeggiator, quantisation, playback and loop settings. For the most part you can easily do all of the above with the A Series controllers without glancing at your computer.

BUNDLED UP

A comprehensive Komplete Kontrol software package accompanies any purchase of an A Series keyboard, including Maschine Essentials, The Gentleman upright piano, Reaktor Prism, Scarbee Mk I electric piano and more.

As a generic MIDI controller, it’s hard to fault the A Series. It delivers a fast, comfortable keybed with a host of quality controls at a very reasonable price. Throw in the software and Komplete Kontrol integration and it’s near on a steal.