ProAudio Review - January 2009 - (Page 32)

studio review by Sterling Winfield Audio-Technica AT2050 Multipattern Condenser Microphone The multipattern, large-diaphragm A-T AT2050 is a good and trustworthy multi-tasker that won’t break the bank. I am always ready to listen to any new microphone models from the folks at Audio-Technica. The company has always stood for high quality and the willingness to be affordable when many of their competitors were not. Since their 1962 launch in Tokyo, Japan, A-T has been, and continues to be, an innovator and leader in the world of microphone and wireless audio system design. Features The AT2050 is a dual capsule, large-diaphragm condenser microphone that offers three switchable polar patterns: omni, cardioid, and figure-of-eight. The AT2050’s features include a switchable 80 Hz high-pass filter and 10 dB pad; it can handle high SPL, too (149 dB, 159 dB with pad). Capsules are “gold-vaporized and aged,” according to A-T promotional material, and the AT2050 is built with surfacemount electronics. The package includes a shock mount and a padded vinyl pouch. In Use I have had a lot of experience with the Audio-Technica AT4050 microphone over the years, so for this evaluation, I immediately reached for one along with the ever-trustworthy Neumann U 87 to compare them with the A-T AT2050. I used Otari Concept One console preamps for this evaluation; those amps are what I have used for the majority of my time with the 4050 over the years (most notably with King Diamond and Mercyful Fate). This gave me a good, familiar point of reference. I expected that the AT2050 would be similar to the 4050, but it is, in fact, quite a different animal. With just a simple vocal test using identical gain on all three pres, the AT2050 as compared to the 4050 is about 5 to 7 dB lower in gain; this helped me get just a bit more granularity from the pre-amp with the AT2050. Also, the AT2050 has quite a bit tighter cardioid pattern; a vocalist can be closer to the AT2050 than what might be considered normal without proximity effect going crazy on you. As compared to the Neumann, the AT2050 A u d i o - Te c h n i c a AT 2 05 0 was an apple; the U 87 was an orange, as you might expect. I quickly found another desirable quality of the AT2050 when putting it in an overhead position on a drum kit. This mic can definitely take a punch. Even without the -10 dB pad engaged, it can handle around 150 dB before it starts to break. The high-pass filter was also effective on the overheads as well. At this point I tried opening the pattern to the omni setting; in came a lot of pleasant space and room. There also seems to be quite a bit more “midrange punch” present in the AT2050 compared to the 4050 and U 87, which I found to be helpful when putting the mic on a guitar cabinet. Those punchy qualities really helped me not need to reach for a midrange EQ boost in that Sterling Winfield is a Texas-based producer/engineer/mixer with gold and platinum credits for artists such as Pantera, Damageplan, and HELLYEAH. 32 ProAudioReview | January 2009 www.proaudioreview.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - January 2009

ProAudio Review - January 2009 Contnets Technically Speaking New At NAMM: Studio Opinion: Studio Sense Feature: PAR Session Trials: Large-Diaphragm Microphones Review and Second Opinion: McDSP TDM Emerald Pack III featuring FutzBox PAR Contributor Of The Month Review: Audio-Technica AT2050 Multi-pattern Condenser Microphone Review: LaChapell Model 583s Microphone Preamp & Model 583e Microphone Preamp/EQ Review: RNDigital D4 Plug-In Mini Review: MXL Microphones V88 Large-Diaphragm Microphone Mini Review: Solid State Logic Mynx New at NAMM: Live New Live Products Opinion: Worship Audio PAR Recommends: Portable PA Options for 2009 Mini Review: Fishman SoloAmp Review: AKG D 40 Instrument Microphone Installation Profile: 9:30 Club, Washington, DC Single Slice

ProAudio Review - January 2009

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