Rode says that its new NTH-100s are “the most comfortable headphones ever”

Having built up a formidable reputation in the microphone industry, Rode has now debuted its first pair of studio headphones: the NTH-100s. Promising “an audio experience that inspires creativity,” these are also billed as “the most comfortable headphones ever”.

The NTH-100s are designed for everything from monitoring to mixing and mastering. If you make ‘content’, Rode reckons that the NTH-100s have you covered, basically.

There are custom-matched 40mm dynamic drivers based around a custom voice coil, along with a triple-layer Mylar diaphragm. The design also includes a rare-earth neodymium magnet, and is said to enable low levels of distortion and accurate response across a broad frequency range.

The NTH-100s promise a natural sound that’s similar to what you’d expect from open-back headphones, but with the isolation benefits of closed-back cans. The best of both worlds, basically.

Rode NTH-100

(Image credit: Rode)

Rode says that it’s paid special attention to the comfort of the NTH-100s, kitting the earpads and headband out in a high-quality, breathable material known as Alcantara. Underneath this there’s a layer of CoolTech gel that’s designed to absorb and dissipate heat, cooling the head and ears in the process.

The earcups, meanwhile, are contoured to the shape of the ears, and the combination of bi-directional movement and memory foam is said to give a custom-fit feel regardless of your head size or shape.

The locking audio cable that’s supplied with the NTH-100s can be installed on either side, and the headphones are also supplied with a storage pouch and 3.5mm to 1/4-inch adaptor.

Rode claims that the NTH-100s are built to last, but - with an eye on sustainability - some of the components are replaceable.

The Rode NTH-100s are available now priced at $149/£149. Find out more on the Rode website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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