Without the transparency and plasticity of other (but much more expensive) rods, these two little ones are quite usable. Good as a pair matched and quite neutral. The proximity effect is not lacking, the sensitivity to wind is enormous. Therefore they should be placed more than 20 cm from instrumentalists and the windbreak outside in any case. The loss of heights is minimal.
Poor I find the plastic case. It reminds of toolboxes and has much more space than the set with the supplied accessories. Something smaller and instead of better quality would be synonymous.
As supporting microphones feel the pens at home, also recommendable for people who want to record concerts live and without problems in stereo, but only for remembrance purposes. But be careful: If you put the pins on tripods, you should also check after the concert, if they are still there to be packed. The temptation to hide the little ones in the pockets and hoses is likely to be great with the one or the other.
In any case, a very recommendable solution for smaller budgets.
Supplement 18.04.2011 And now a "crime": Because I have read a lot here and elsewhere and also own the two Kleine KM-184 from Neumann, I have compared the pairs. In the case of "consumer" converters, the difference can only be heard at the heights. The Neumans are more reserved, but my taste. The rodes are sharper, the heights often "scratch". In the case of more expensive converters, the difference is clearly audible. Where the Neumännchen "musizieren", "scratch" the Rodeleins clearly. The bass is also audible. Neumann sounds more solid, crisp, whether grand piano, violin, flute, guitar or choir. Perhaps it is partly also because the capsule of the Neumännchen is somewhat larger than that of the Rodeleins. Admittedly, the comparison is unfair, just because of the price, but the temptation was great for me and the technical data made the experiment even more attractive. Even greater was the temptation to let all four be "compete" in the studio at the same time. Four-track rail screwed on, connected and what I heard I could not believe! It is really worthwhile to dedicate four recording tracks to the four microphones and then mix them together on two tracks in the case of tracking. The "Body" comes from the Berliners and the "icing on the cake" from the Australians. All the above sources had a very different quality, brilliance and liveliness. I'll probably never get back with just one couple. Excuse Neumann and Rode, but on my equipment and in my ears, both sets offer together a real musical experience. Let us not forget, however, that the preferred sound color is taste. How did the Latins say? De gustibus et coloribus non est disputandum.
If you are looking for a cheaper pair of stereomicrophones, do not go around Rodes NT5 or the Octavas MK012. However, the decision between the two types of microphones is very difficult. Both microphones are praised in professional journals and Internet forums in the highest tones.
I now tried to listen to both of them and to test them. The equipment is quite similar in both: Thus the Oktava can bring with the supplied 10db dampers, but is in contrast to the Rode NT5 quite no matter, which can be anyway far more burden. The microphone clamp from Rode is far more stable.
From the sound, I personally like the Rode better: There is cleaner and clearer the sound again. A further advantage would be the versatility of Rode: While with the octavas almost only pianos (for that sounds saummäßig good), one can use the Rode NT5 for many different instruments. A violin (since the low noise is good), drums (It sounds much clearer)
Also the Rode works well for stereo recordings in concert halls. Who still straddles between Rode and Oktava: I have kept the rode.
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