Recording February 2022 - 20

Audix A231
REVIEW
Gold on ivory
One highlight-on a bright-sounding
Yamaha C7 grand piano, the A231
made for a satisfying match. Configured
as a spaced pair, I found a sweet spot
close to the strings with the lid open; the
tonality of the A231 balanced out the
toppy character of the piano smoothly
and naturally. The full spectrum was
well represented, with a rich low midrange
and tons of clarity through the
upper mids. It doesn't sound as warm as
when I mic the same piano with a pair
of ribbons, nor would I expect it to, but
it shows a similar character with a very
neutral, smooth, and un-hyped top end.
Golden guitars
While I don't typically mic guitar amps
with large diaphragm condensers, the
A231 is a great option in this role. Its
midrange detail and forgiving top end
capture everything from clean to distorted
tones in a way that sounds very true to
the source. With cranked-up tube amps,
a condenser can often sound way too
aggressive or biting, but the A231 in this
case matched how my ears perceived the
amp in the room. It paired nicely in this
role with the famed Audix i5 dynamic mic
to add in some low-mid punch as well.
Vocal tones of gold
Of everything I tried it on, my favorite
source to record with the A231 was
undoubtedly vocals. It captured every voice
I tried effortlessly. It can be challenging to
match a vocalist with a complimentary
microphone; I generally try quite a few
before landing on one with a new artist. I
think the warm top end response helps the
A231 never to sound sibilant or pointed,
and yet it maintains enough presence that it
sounds clear and lively. This held true for a
range of music genres as well as voiceover
recording (I recorded episodes 7 and 8 of
RECORDING's podcast with the A231 if
you'd like to hear it in that context).
There may be some instances in the
pop or hip-hop worlds in which a bit more
brightness would be desirable, but I felt
that for everything else, it has all the clarity
and fullness you could ask for. I found it
also drops into mixes with minimal effort
or shaping needed to sit properly.
20 RECORDING February 2022
The A231 offers a forgiving sweet
spot for vocalists, with a decently wide
window to work with and a natural
off-axis response. The proximity effect
is also quite pronounced, which I think
would come in handy for voiceover artists
or podcasters looking to capture a
deeper radio-esque sound quality with
proper mic technique.
Final Thoughts
For reasons that are not abundantly
clear to me, Audix large diaphragm
condensers seem to fly under the radar,
perhaps because Audix appears to
be most widely known for its dynamic
mics. I think they've struck gold with
the A231. It does not possess the
stereotypical LCD sound. It's smooth,
and it captures its sources with rich
harmonics, especially when paired
with a tube preamp or compressor. It'll
easily record thick guitars or provide
any low-end weight you need for
stringed bass instruments. I personally
love the balance Audix has created
with the A231. If anyone is looking for
a high-end all-rounder to add to their
locker, I highly recommend it for all
types of studio work, with vocals as the
prime point of interest.
Price: $799
More from: audixusa.com
The A231 First look
BY PAUL VNUK JR.
When Audix had its final yet still preproduction
units available, I was asked if I'd
be interested in an initial listen. Of course
I said yes! I was assured that this beta
version was a final approved voicing and
would be sonically similar to the production
model Alex reviewed above.
Like Alex, I was immediately impressed
with the robust build and found the shiny
gold band a classy touch. In my brief time
with the mic, I had a chance to try it on vocals,
acoustic guitar, percussion, and as a
mono front of kit mic. In every case, the petite
size of the mic made it quite easy to place.
How's it sound?
What
a
beautifully rich-sounding
microphone. The A231 sounds like it is
voiced more like great FET mics of the past
with a rich neutral totality and a gentle,
firm upper-mid presence.
There is absolutely zero bite, sibilance or
sizzle on the top end, and my favorite part
of the A231 is its extended, full proximity
effect. The A231 is a mic that begs to be
close to a source and would do well on
upright bass and cello, and could be a
great choice on a bass cabinet, outside, yet
close up on a kick drum, and a pair would
be nice for classic drum tones in a Glynn
Johns overhead set up.
Where this mic really shines is on vocals
and spoken word. In both cases, it has a lowend
fullness that a good singer and speaker
could really work to their advantage.
http://www.audixusa.com
Recording February 2022

Table of Contents for the Digital Edition of Recording February 2022
