This means the mic’s off-axis response won’t sound weirdly EQ’d. I think the AT4050 sounds good in most of these configurations. The grille does not deform when squeezed. That pair of mics have been on a ton of records, on a ton of sources. I recently purchased a pair of the AT-4050, and found this very helpful. I go to the Lawson L47MP, first, then a 414, SM7, or the Saturn, which sounds very intimate and looks GREAT! I still do not trust it completely, as I do not believe that it holds the mic securely enough. My first experience with the AT4050 was just under a year after I started working at a recording studio. The boss decided to buy a few new things for the record, including upgrading from our AT4033 to an AT4050. The mic feels very solid, and is heavier than you’d expect. If you need a PROFESSIONAL TOOL that works and does what it is supposed to do …this is it, baby. But I think this reveals more about the challenges of recording loud drums in a small room, where room nodes can dramatically alter what the mic hears. That might be a violation of the laws of physics, but when I’m playing the kit I definitely hear a lot of reflections and boom that the AT4050 managed to ignore. The track sounds like my drums in my room — or, actually, it sounds better. (If you haven’t seen it, my in-depth comparison of drum overhead position techniques goes into much more depth on this topic.). Audio-Technica provided no compensation for this review. I recorded the standards, as well as Blumlein (crossed Figure-8s) and Mid-Side (Cardioid plus Figure-8). These mics are more familar to my ear than any other, and I love love love the versatility that they employ. In short, I would not hesitate to use the AT4050’s above my drums. They added space, and splash, real depth, and air. I’ve had them in XY, Blumlein (utilizing the figure 8 pattern — more on that pattern later) and even M/S on a record of acoustic Irish music. It has its uses, though, and works well on drums and some voices. The AT4050 Recorderman track is dry, clean, detailed, and expressive. I still use that mic and the second one I convinced the old boss into buying some time later. It’s a snap to pull the mics out of the mounts, and scarcely harder to put them back in. The cymbals are clear and defined without sounding brittle or harsh. You can hear how the AT4050’s fare in the samples below. One is owned by Tony Sanfilippo. Pepper them into the close mics, and don’t even think about artificial reverb. Hi! Thank you for this review. Thank you very much for including the kick mic and for taking the time to show some less common OH setups. The AT4050's switchable 80 Hz high-pass filter and 10 dB pad ensure that the microphone can stand up to 159 dB SPL (sound pressure level) and still remain ultra-transparent, giving you even more flexibility in capturing a range of audio sources. we’ve used AT4050s as our studio workhorses for years and years at Dallas Audio Post. Damn, I passed up the chance to get this mic yesterday because I had never heard it before… I am now 600km away from the store. Everything else, the AT4050 does it all, it sounds great for male, female, drums, guitar, even in front of a GUITAR AMP!! Wonderful, still the space I like, the air around the drums, but the harsh brassy sound the drummer was producing was not hitting the mics on-axis. I just ran across this review… The mics are really amazing, because they give you a sense of space, but also are really great at letting you hear the personality of the player. Workhorse indeed and the flagship of the 4000 series in my opinion. The three switches (pattern, pad, and filter) are nicely implemented. The body is well-damped. Initially known for state-of-the-art phonograph cartridges, Audio-Technica now creates high-performance microphones, headphones, wireless systems, mixers and electronic products for home and professional use. _wpaudio.enc['wpaudio-5fc361d699047'] = '\u0068\u0074\u0074\u0070\u003a\u002f\u002f\u0063\u0064\u006e\u002e\u0072\u0065\u0063\u006f\u0072\u0064\u0069\u006e\u0067\u0068\u0061\u0063\u006b\u0073\u002e\u0063\u006f\u006d\u002f\u0073\u006f\u0075\u006e\u0064\u0073\u002f\u0073\u0061\u006d\u0070\u006c\u0065\u0073\u002f\u0041\u0054\u0034\u0030\u0035\u0030\u002f\u0041\u0042\u0031\u002e\u006d\u0070\u0033';Spaced Pair The mics are rated at 17dBA self-noise, which is moderate compared to newer designs (see the lowest-noise mics on the Mic Zeitgeist page). The “side” channel of MS, hearing only reflected sound, usually needs to be gained up somewhat relative to the Mid; if the mic’s self-noise is too high, you might hear this in the track. This also becomes quite useful when recording singing guitarists. For example, the Recorderman configuration puts the mics very low over the drum kit, potentially causing the mics to overload. Audio-Technica AT5040 Voiceover Mic Review, beyerdynamic MC930 review: drum overheads. The AT4050 was initially released in the mid-1990s, as the first multipattern condenser in Audio-Technica’s groundbreaking 40 Series. On Monday the drummer in Kash’d played solidly, but not super hard. He had also requested my brighter, louder, hihats (which I barely ever use… or encourage). Listen closely, and you’ll some throne squeaks. The RecorderMan configuration is a personal favorite, and through the AT4050’s it sounds great. So much so, in fact, that I decided that I needed something different. They’re excellent VO mics, stand up well to the U87s in other studios, and they actually work very well as foley mics as well. With its onboard -10dB pad engaged, the AT4050’s max SPL is an ear-splitting 159dB. Posted in Drums, Microphones, Reviews | 7 Comments », Previously: CAD E100S Voiceover ReviewNext: Cloudlifter CL-Z Review. Maybe someone dropped the newer one or I overlooked something in my comparison, but the off axis rejection was superior for the older 4050. I hope that the new shockmount holds the mic better. For this test, I took an alternate approach: I put an Electro-Voice N/D868 in the kick drum, so that the resulting tracks could be evaluated as a complete drum sound, not just an overhead pair. The drummers and cymbals were different. I think these would make excellent studio workhorse mics. The other was provided by Audio-Technica on an evaluation loan. Often I have them equidistant from the top resonant BD head, about waist high. This is in part because the AT4050’s Figure-8 pattern is nearly perfect. I really could end my section of this review by saying, “Buy an AT4050 or two (or four) and it will be some of the most useful tools you will ever own” and be done, but I won’t. I use the figure 8 pattern of the mics quite a bit. For example, XY and MS capture a subjectively small but very present kit sound (while offering excellent mono compatibility). The old spider shockmount’s suspension string disintegrated very quickly, but I replaced it with a thick shoestring. The mics don’t sag, even when suspended sideways — see the Blumlein photo above. And at their best, they somehow improve what I was hearing in the room. The AT4050 is no exception. It has remained so popular throughout the past 15+ years that A-T has just released a limited-edition anniversary model, the AT4050/LE, with a beautiful commemorative metallic silver finish and a custom wooden storage case. Some future date maybe, I do need a solid LDC. And they do seem to isolate the mics from mechanical noise, if my test of tapping the stand with a drum stick is any indication. There’s an ambiguity to the way the elastic band grips the mic that makes the mount feel under-designed. Because the AT4050 is a 3-pattern mic, numerous drum overhead configurations become available beyond the standard “RecorderMan,” XY and AB (spaced pair) approaches. The XY and Blumlein arrays put most of the drum kit off-axis, potentially causing bizarre EQ problems for mics with colored off-axis response. In part I, we’ll try the mics on drum overheads, in five different configurations. Listen to the silence before the drums start; there’s no fade-in on the track. _wpaudio.enc['wpaudio-5fc361d699fe6'] = '\u0068\u0074\u0074\u0070\u003a\u002f\u002f\u0063\u0064\u006e\u002e\u0072\u0065\u0063\u006f\u0072\u0064\u0069\u006e\u0067\u0068\u0061\u0063\u006b\u0073\u002e\u0063\u006f\u006d\u002f\u0073\u006f\u0075\u006e\u0064\u0073\u002f\u0073\u0061\u006d\u0070\u006c\u0065\u0073\u002f\u0041\u0054\u0034\u0030\u0035\u0030\u002f\u004d\u0053\u0033\u002e\u006d\u0070\u0033';Mid Side Audio-Technica (US) has generously donated one of the anniversary edition microphones, called the AT4050/LE. The other OH configurations I tested provide a full palette of sonic choices. I had the AT4050’s in Omni and they did exactly what I expect them to. The heavy hands of this player came right through. Manufacturer Part Number (MPN): AT4050 CM5 Warranties and Docs + Audio-Technica Warranty. I bought one way back when. It has remained so popular throughout the past 15+ years that A-T has just released a limited-edition anniversary model, the AT4050/LE, with a beautiful commemorative metallic silver finish and a custom wooden storage case. The mic actually fell out once, but survived. Instead of swapping mics, I switched the AT4050’s to Cardioid and turned the mics away from the drummer. The toms have good tone and body. The 4050CM5 is next in line. Mic Database | Mic Reviews | Microphone Sale, Monday, April 23rd, 2012 | by matthew mcglynn. I couldn’t find any suitable ones so far that work well with LDCs, and this one looks fantastic! The headbasket is a relatively open weave, made of just two layers of metal mesh. The top end is fairly well extended and super clear, upper mids are clear, and the low and low-mids are full and rich. To find out about this month’s giveaway, subscribe to our email newsletter. Two pairs of AT4050’s were used for this review. 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