The Rode NT4 is an active stereo microphone comprising a matched pair of ½-inch Small Diaphragm Condenser transducers permanently fixed in an XY configuration. The electronics comprises a J-FET impedance converter with a bipolar output buffer. These can be powered both by phantom power up to 48V and by a PP3 9V battery for portable use. The manufacturer reports a battery life of up to 400 hours.

The unit has been designed specifically for both studio and location use, but is likely to suffer from a degree of moisture sensitivity when used outdoors as is typical of most Small Diaphragm Condensers. The supplied windshield is recommended for indoor use only. The manufacturers recommend ordering windshields for external use from www.rycote.com.

The NT4 Instruction Guide lists the following suggested applications:

Unlike many other published reviews, I feel it is important to get the issue of cost into the open up front. There is little point lusting over a Neumann U87 or Lexicon PCM91 which both would cost you around £1,400 new, (apart from the usual reasons of gear lust and envy), if you only have a couple of hundred pounds in the kitty.

Originally the items wouldn’t leave the checkout until you had parted with just shy of £500. However, time and demand have slowly worked the price down to quoted retail prices as follows: -

Inside the box was a rugged plastic storage case, (above), containing the NT4, the indoor foam wind shield mentioned earlier, a rubber microphone mount with a thread adapter and two sets of leads – one for twin balanced XLR and one for stereo mini jack. As this microphone had been built with both studio and location applications in mind I was interested to see if this one-size-fits-all approach would lead to compromises in design and performance.

Examining the accessories, the plastic storage case looked tough enough, although I did wonder how long the sliding closures at the front would stand up to continued use, particular on location projects. The foam partitioning inside was sensibly laid out and of sufficient density to provide a good level of protection from the rigours of transit. The windshield appeared adequate, but owing to the need to place it over microphones facing in opposite directions, I suspected it might need to be replaced with something more robust over time. The rubber microphone mount was of the "Squeeze-in" type and looked adequate for the purpose but provided relatively little protection stand-borne noise being quite rigid in character. The thread adapter was of good quality. Finally, the two provided connector leads were medium to good quality and on testing both worked with very little noise. If this microphone were to become a location staple for you, I would recommend having some more durable ones made up.

Turning to the microphone itself, the unit had a well-manufactured appearance, with a simple sturdy construction. Aesthetically, it will probably not win over any clients to your cause. I remember my first reaction when I saw one on sale on eBay around a year ago. It was something like… "What’s that?" However if you take time to explore beyond the slightly awkward looks, what you discover is mostly very pleasing.

At just 480 grammes, the unit weighs considerably less than two Small Diaphragm Condensers and a T-Bar. Other technical specifications are above average for middle market microphones and in the price range this unit now falls into, quite impressive.

Once you put the NT4 to use both its strengths and weaknesses are immediately obvious. On the plus side, mounting and placing the microphone is simplicity itself. The 2 x XLR adapter lead was connected to two Mic inputs on my desk via two 5m XLR cables. The microphone mount was simply screwed to a Quiklok boom stand for maximum flexibility and the NT4 slid into place. I applied phantom power to both channels and switch the microphone on. With up to 60dB of gain available on my A&H desk, I wanted to get a general feel of the noise of the NT4. So I applied a relatively aggressive 40dB to being with and started by singing a few test notes around 6 feet away from the Mic to get a feel of its general pickup potential before giving it a more thorough run through to assess its potential for recording vocals.

Using the NT4 for this purpose took a little more time to get used to. The problem with the XY configuration in closer Mic applications is that you are pretty much forced to point one of the capsules towards the sound hole, which at reasonable gains is not an ideal solution. Twisting the NT4 on its axis alleviated this problem but also reduced the size of the stereo field. The best solution to this problem seems to be to sit at 45 degrees to the mic which creates a natural stereo lean to one side or the other, dependent on which way up you mount the mic. However, in this configuration you a repaid with some very pleasant tones and timbre.

The Rode NT4 is certainly is a go anywhere Mic with all the benefits that entails. But it is not a do anything Mic. Your £270 buys you a fixed XY configuration and that is that. You cannot vary the angle or use the Mics as supplied in some of the other useful two Mic configurations. With a little imagination, however, I could see this unit being a mid-budget stalwart. Both capsules can be independently externally powered, so the NT4 could double up as another Small Diaphragm Condenser in your mic collection, adding to it’s attractiveness as a mobile recording tool. If you are prepared to accept that the NT4 is a mobile, good quality Mic limited to XY applications in stereo, then I thoroughly recommend an extended tryout. The price you pay is the old Henry Ford maxim: "You can have any colour, as long as it’s black!"…Or in this case XY.

Further reading:

Paul White	http://www.soundonsound.com/sos/Aug02/articles/rodent4nt5.asp
Electronic Musician	http://www.findarticles.com/p/articles/mi_m0FGL/is_2002_Oct_1/ai_92187862
Mix	http://www.findarticles.com/p/articles/mi_m0HEO/is_12_26/ai_93579420
Rode	http://www.rode.com.au/