In Session
With nine polar patterns to choose from, the Classic II provides considerable timbral variation. Overall, the instrument’s frequency response is generally flat, but as is typical for a figure-8 pattern, high-end performance appears slightly diminished when placed into this mode. For vocal recording, the cardioid pattern exhibits a mild boost in the mid to upper midrange—a quality that does wonders for delivering presence to the human voice. In omni mode, the mic exhibited roughly a 6dB bump at around 10 kHz. With a variety of intermediate positions between these three main polar patterns, combined with the two-position highpass filter and the -10dB and -20dB pads, this microphone provides ample opportunity to find the right sound for numerous recording applications.

I used the Classic II on a number of vocal and instrumental recordings. I recorded a series of dialog tracks, vocal tracks, solo flute and acoustic guitar. I also miked a Fender Stratocaster played through a Yamaha guitar amp.

For both close-proximity dialog work and the recording of vocal performances, the Classic II was absolutely terrific. For dialog, I used the cardioid pattern with the talent placed roughly 7 to 8 inches from the mic with a sheer nylon pop filter placed between. The Classic rewarded me with big, detailed and full-sounding takes that were “ready to go.” Using a pop filter to help reduce the occurrence of high-level plosives is recommended: The same material without the pop filter exhibited quite a bit more plosive sounds and sibilance, which would have required more effort after the fact to fix.

Vocal performances were met with equal success, exhibiting a warm, natural texture with a rich lower end. The microphone’s off-axis response is exemplary, delivering even-sounding performances even as the vocalist moved somewhat in order to hit the high notes and generate the vocal inflections we were looking to capture.

This was similarly the case with the flautist. The Classic II delivered a very even, full-sounding tone, yet with an open, “airy” quality that made the instrument sound extremely musical—even with a fair amount of movement from the player.

The Classic II delivered exceptional results with acoustic guitar. The instrument was recorded on a hardwood floor with the mic placed just far enough away to capture both direct and reflected sound. The Classic II picked up a detailed composite sound where finger movement, room ambience, harmonics and fundamental tones all blended together with astonishing accuracy.

For a tube mic, I found the Classic II’s self-noise to be low. While the Classic II wouldn’t be my first choice for critical classical recordings, it’s not likely to be an issue for any other application.

On electric guitar, the Classic II delivered its best performance when it was placed roughly 18 inches and slightly off-axis from the speaker enclosure. This mic is very sensitive, and with the high sound pressure levels generated by the cabinet, the -10dB and -20dB pad settings were called into service to more effectively manage signal levels. The Classic II sounded really big, with loads of detail and an awesome sheen to the overall sound.

Conclusion
The Classic II’s ability to capture all the nuances of a performance makes it an outstanding choice for instrumental and vocal recording. Its off-axis response is excellent—delivering uniform, consistent sound quality—and its ability to handle relatively high sound-pressure levels makes it that much more versatile.

The RØDE Classic II has a world-class look and feel and comes with first-class accessories—all packaged in a beautiful flight case that could probably withstand a Volvo driving over it. With nine polar patterns, two pad settings and its two-position highpass filter, it has the flexibility to tailor the instrument to deliver the sound that best suits your needs. Further, the microphone’s $1,995 price tag strikes me as quite modest. Bottom line: The RØDE Classic II is a full-featured microphone with a big, full sound that delivers stellar results.

RØDE, distributed in North America by Event Electronics, P.O. Box 4189, Santa Barbara, CA 93140-4189; 805/566-7777; fax 805/566-7771; www.event1.com.

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Roger Maycock is a Mix technical consultant.

Reprinted with permission from Mix Magazine, June, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved