Here is my evaluation of the RØDE NT1-5th edition «tribrid» (not hybrid) condenser studio microphone (U$249) with 32-bit digital and analog XLR outputs. Thanks to its many microphone innovations, it gives us multiple choices to make: Connect it via XLR analog or digital USB-C. If we use the digital USB-C output, we get to choose either to record 32-bit float (i.e. truly high resolution “RAW” for 1528 dB dynamic range, with gain that is freely adjustable in post-production without any sacrifice of quality or clipping)… or baked-in effects. Pick one of the three each time you use the mic. If baked-in effects are desired, a myriad is available. Ahead, we’ll discuss survival without any onboard headphone jack, value proposition comparison with the recently reviewed NT1 Signature Series (U$159) used with two different interfaces, and also with the NT1-USB+ (U$169, also recently reviewed).

In this article

• Key features
• A brief history of the NT1
• How does the NT1-5G sound?
• Connectivity pluses and minuses
• No headphone jack on the NT1-5G
• What about 32-bit float, in general and with the NT1-5G
• Survival without latency-free monitoring and no internal headphone jack
• Comparing options
• Full compatibility with RØDE Connect?
• Conclusions about the NT1-5G versus RØDE’s own alternatives

According to RØDE, with over six million units sold (certainly they mean all versions of the NT1), the NT1 is the world’s most popular studio microphone and boasts a legacy that few can match. Since its release more than 30 years ago, the microphone has gone through multiple transformations, including the NT1-A and innovative fourth generation NT1, both of which are used by countless creators today. RØDE says that the NT1 5th generation is the most significant evolution yet, harnessing the iconic sound quality and world-class performance that made the previous generations so successful while introducing state-of-the-art technology, including RØDE’s, patent-pending Dual Connect output offering both XLR and USB connectivity, an «unclippable» 32-bit float digital output, advanced digital signal processing and more. I will clarify that the “unclippable” part is true as long as the sound source doesn’t surpass the NT1 5th generation’s maximum SPL (sound pressure level) of 142 dB, which is indeed quite loud.

Key features

• HF6 large-diaphragm (1-inch) gold-sputtered capsule, precision engineered to sub-micron tolerances
• Smooth frequency response, high sensitivity and high SPL handling for incredible performance in a wide range of studio applications
• Exceptionally low noise (4dBA) – the world’s quietest studio condenser microphone
• Patent-pending Dual Connect output with both XLR and USB-C connectivity for use with audio interfaces, mixers and consoles, or direct plug-and-play recording with a computer
• 32-bit float digital output
• Ultra-high-resolution (up to 192kHz) analog-to-digital conversion
• On-board DSP for advanced APHEX audio processing, including a compressor, noise gate, two-step high-pass filter, and Aural Exciter and Big Bottom effects
• Studio-grade shock mount and pop filter, XLR and USB cables included
• Available in black or silver with a rugged aluminum body and high-grade finishes – highly resistant to scuffs and scratches
• Designed and made in RØDE’s precision manufacturing facilities in Sydney, Australia

A brief history of the NT1

Introduced in the palindromic year of 1991, the NT1 was RØDE’s debut microphone – the first in a long line of products that have reshaped the way creators across every discipline captures audio. Released at a time where new advancements in audio technology democratized the studio workflow and made recording more accessible than ever before, it was an instant success and quickly became the go-to microphone for a new generation of DIY musicians and studio professionals alike. Over the last three decades, RØDE states that the NT1 has continued to be the best-selling studio condenser worldwide, beloved for its warm, classic sound signature and incredible versatility.

«The NT1 is not only our flagship microphone, it’s an icon for today’s creative generation,»

says RØDE CEO Damien Wilson.

«Countless musicians, podcasters, streamers, broadcasters and content creators consider it their go-to microphone, and for good reason – it sounds incredible, is extremely flexible, and is built like a tank – a true studio workhorse. With this new generation, we wanted to preserve all of these qualities while incorporating innovations that have never been seen before in a microphone like this. The NT1 5th generation is unlike any studio mic out there, but it hasn’t lost its charm and is sure to continue inspiring creators for decades to come.»

How does the NT1-5G sound?

By RØDE’s own claim, my claim and several colleagues’ affirmations, the NT1-5G sounds identical to the NT1 Signature Series which I just reviewed, so feel free to listen to the samples I recorded there:

Review: RØDE NT1 Signature Series condenser studio microphone

We all agree that all current flavors of the NT1, be it the NT1-5G or the NT1 Signature Series, all sound equally amazing. This article is about the differences and the value proposition among them, and perhaps with the NT-USB+. You can read and listen to my samples (and also hear the results of the DSP effects with the NT-USB+) here:

Review: RØDE NT-USB+ condenser studio microphone with DSP & compelling app support

Connectivity: pluses and minuses

For over 50 years, the XLR connector has remained virtually unchanged – until now. The NT1 5th generation features RØDE’s groundbreaking, patent-pending Dual Connect output, which offers both XLR and USB-C connectivity in the same housing. This allows users to connect to an audio interface, mixer, console, audio recorder or camcorder via XLR with 48-volt phantom power for a traditional analog workflow or directly to a computer via USB for plug-and-play recording. However, you cannot use the XLR and the USB together, nor can you use the 32-bit float mode together with the DSP effects.

No headphone output on the NT1-5G

Despite that innovation, I was very surprised to see (and have RØDE confirm for me) that the NT1 5th Generation does not have any headphone output at all. In fact, it’s the only USB mic to be released in recent years (to my knowledge) without one. This means that for all cases when the digital USB-C output is used, there is no possible latency free-monitoring. As a result, you either don’t monitor yourself “live” or someone else does it for you. (Hearing ourselves with latency, aka delay, is unacceptable.) Of course, this limitation is irrelevant if you use the analog XLR output, since in those cases, the headphone jack for latency free monitoring will likely be in the connected XLR device.

What about 32-bit float, in general and with the NT1-5G

If you haven’t read them already, please read my relevant prior articles:

Hindenburg Pro: 32-bit float compatibility, workflow and best practices (February 2022)

First look: Zoom F3 2-track 32-bit float recorder with 48 kHz sampling rate (June 2022)

Now I will add to what I already stated in those articles and my updated opinion:

I love the F3 recorder, even though I never thought I really needed to have 32-bit float recording. I initially picked the F3 because at its price (recently reduced U$50 to U$299.99 from its original price of U$349.99 which I paid), the F3 has the best preamps even for gain-hungry dynamic microphones, without the need for any pre-preamp. And the F3 can also be used as a standalone preamp/interface, if desired. I often do interviews with two dynamic microphones connected to the F3, each on its own 32-bit float track at 48 kHz sampling frequency. Even though I know how to set audio levels and have been doing it for decades, having not to do it is one more stress relief when trying to concentrate on the content of the interviews, rather than the technical aspect of setting, confirming and riding levels. I will also happily admit that since acquiring and using the F3 for interviews, two interviewees have spontaneously begun reciting a poem or singing a song at a much higher level, so the 32-bit float has saved me already on two occasions so far.

So how valuable is the 32-bit float over USB feature in the NT1-5G?
It is great, as long as:

1. You don’t expect to use any of the NT1-5G’s DSP effects while simultaneously using that feature, because you can’t. (If you are primarily interested in DSP effects and don’t care so much about 32-bit float, you might consider the NT1-USB+ instead, reviewed here, since it allows for DSP effects.)
2. You don’t expect to be able to use the XLR connection simultaneously, because you can’t.
3. You don’t expect to hear yourself latency-free simultaneously while using this feature in the NT1-5G, because you can’t. (If you want to have your cake and eat it too, consider saving U$90 and purchasing the NT1 Signature Edition (US$159, reviewed here) and use the U$90 savings as a virtual discount, either on the F3 (has both 32-bit float and latency-free monitoring) or the Shure MVX2U dockable interface (reviewed here), doesn’t have 32-bit float, but does have latency-free monitoring and a great limiter.)

Survival without latency-free monitoring and no internal headphone jack

For decades, audio professionals have been taught about the importance of latency free monitoring. There is a reason why all traditional AM/FM radio hosts have used headphones where they not only hear themselves latency free, together with jingles, music or remote callers. It is for quality control. Can you survive recording yourself and then just playing the recording later? Yes, you can, but depending upon the duration of the recording, you might discover an issue and have to repeat the recording later. The longer the material, the more it is critical to have latency-free monitoring, unless you have another person doing that quality control for you. In that case, the delay is tolerable (for a person not speaking on the show).

Comparing options

Notes about comparison chart:

1. Total price includes microphone and (when appropriate) a paired interface or recorder/interface. It does not include a mic stand or arm.
2. I realize that the NT1-USB+ does not sound identical to the other NT1 models covered, but it sounds close enough to warrant being included.

Full compatibility with RØDE Connect?

The NT1-USB+ and the PodMic USB work fully and directly with the wonderful RØDE Connect software I recently covered in:

Use the free RØDE Connect to mix remote guests, phone calls and local mics for recording or live broadcast

and

How to use a non-RØDE interface with RØDE Connect using Audio Hijack

The NT1-5G cannot, since it lacks a headphone output. It is impossible to send a mix-minus to a device which lacks a headphone jack. Therefore, the NT1-5G is not (by itself) invited to the RØDE Connect party. The NT1-5G and the NT1 Signature Edition are only allowed at that party if they bring two extra «helpers», i.e. an interface and third-party software, as shown in the second article linked just above this paragraph.

Conclusions about the NT1-5G versus RØDE’s own alternatives

As stated throughout this article, the NT1-5G offers three very different modes, which are all mutually exclusive. The user must pick one of the three modes each time. The user must accept that in two of the three modes, there will be no latency-free monitoring. RØDE’s own alternative microphones (in some cases, combined with a third-party interface or mixer) can sometimes be a better value proposition than the NT1-5G. It basically comes down to how often the user expects to be using each of the three options, and whether it is essential to have latency-free monitoring during recording or live broadcasting her/himself.

Lee este artículo en castellano

Evaluación: micrófono «tríbrido» RØDE NT1 5G con 32 bitios flotante, DSP vía USB-C o salida analógica XLR

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FTC disclosure

RØDE, Shure and Zoom are not paying for this review, although RØDE. Shure and Zoom have sent devices to Allan Tépper to facilitate reviews. Allan Tépper paid the normal price for Audio Hijack (previously known as Audio Hijack Pro) and then has paid for upcoming upgrades since then. Some of the manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur, BeyondPodcasting, CapicúaFM or TuSaludSecreta programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own. Allan Tépper is not liable for misuse or misunderstanding of information he shares.