Recording - April 2021 - 36

REVIEW

Audix A133

Large Diaphragm
Condenser Microphone
A smooth, transparent and
well-mannered microphone politely
tailored to a number of sources

REVIEW BY ALEX HAWLEY

H

eadquartered in Oregon, Audix has been manufacturing highquality microphones for studio and stage since 1984. During the
2020 NAMM show, the A133 was among fourteen products that
Audix announced, alongside the A131 large diaphragm condenser.
Both models are fixed-charge condenser designs.

Meet the A-Team

The Audix A133 is a large diaphragm
condenser microphone with a fixed cardioid polarity. Its 33mm fixed-charge
capsule features a gold-sputtered 3.4
micron thick diaphragm. The aluminum
body is machined at the Audix facility
in Oregon and features an internal
shock mount to isolate the capsule from
mechanical vibrations and handling
noise, removing the need for a dedicated shock mount. The steel mesh grille
is combined with an ultra-thin acoustic
foam, helping to protect the diaphragm
from plosives when recording vocals.
The only difference between the
A133 and its A131 sibling is the -10dB
pad and bass rolloff switch found on
the A133. Otherwise, both models are
the same.
The A133 has a frequency response
of 40Hz-20kHz, sensitivity of 23mV/
Pa, up to 150dB of SPL handling with
the pad engaged, and a signal-to-noise
36 RECORDING April 2021

ratio of 84dB. The bass rolloff switch
on the body engages a gentle highpass
filter at 150Hz.
The A133 ships with a clip and hard
nylon shell carrying case for storage. It's
relatively compact but feels quite sturdy
and rugged in the hands. Its size and
weight, along with its ability to be used
without a shock mount, make it easy to
place without much fuss. The included
mic clip is very snug and secure; it takes
quite a bit of effort to get it on and off,
which I consider to be a plus!

Sounds

The sound of the A133 is balanced
and rich. The low end is transparent and
sounds full without being overly boomy
or bulky. The midrange is flat and trueto-source, while the top-end is slightly
rounded without being dark. It certainly
leans somewhat to the warmer side of the
spectrum, but with a pleasing richness to
it. A slight bump at around 300-400 Hz

presents itself on some sources, but it's
subtle and quickly addressed with EQ. Its
accurate and uncolored response makes
it an excellent choice for any number of
percussive or stringed instruments as well
as voice. I wish the highpass filter reached
just a touch lower in the spectrum; I would
only engage it when the source doesn't
require much low end. The off-axis rejection effectively reduces unwanted noises
and reflections from the environment-the
sound remains balanced if the source
drifts slightly off-axis.

Studio Action

I started with the A133 on percussion. It sounded excellent on the barrage
of hand percussion I used, and I think
the smooth top end would translate into
great overheads as well. The transparent midrange and slightly rounded top
would make it forgiving when it comes
to recording cymbals. The low end is full
enough to add support, but it's not so
thick or bulky that it creates too much
energy in the lower midrange. For that
same reason, I don't think I'd call on the
A133 for a kick drum or floor tom, but
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