The XY track is the only one I don’t care for; it sounds colored in an unflattering way. But you won’t hear any hiss from the microphone. The three switches (pattern, pad, and filter) are nicely implemented. You’re hearing the mics, the pres, and the room. Everything else, the AT4050 does it all, it sounds great for male, female, drums, guitar, even in front of a GUITAR AMP!! This design helps reduce reflections in the vicinity of the capsule, and no doubt contributes to the mic’s clean and uncolored sound. _wpaudio.enc['wpaudio-5fc361d698878'] = '\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\u0052\u004d\u0031\u002e\u006d\u0070\u0033';Recorderman (If you haven’t seen it, my in-depth comparison of drum overhead position techniques goes into much more depth on this topic.). It is a low-profile suspension mount that grips the mic with a single elastic band. I recently purchased a pair of the AT-4050, and found this very helpful. highly recommended. Two pairs of AT4050’s were used for this review. Thanks for a great, thorough review. Blumlein captures much more room sound; the rear lobe of the Figure-8 pattern is hearing only the room. On Monday the drummer in Kash’d played solidly, but not super hard. A couple of those choices are older and vibey. _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 Often I have them equidistant from the top resonant BD head, about waist high. 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. This pair will be returned to the manufacturer. With its onboard -10dB pad engaged, the AT4050’s max SPL is an ear-splitting 159dB. If you’d like to hear the raw tracks, and remix them with more or less kick, or different panning values, grab the session audio files (44/24 WAVs) here. Instead of swapping mics, I switched the AT4050’s to Cardioid and turned the mics away from the drummer. Enter the AT4050. Just like with drums, these things just WORK. 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. Listen to the silence before the drums start; there’s no fade-in on the track. A UAD 610 preamp helps warm it up. I was assisting the boss on a fairly important local record. The AT4050 performs beautifully in this regard. We’ve had a pair of AT4050’s on hand for a while, and took the opportunity to review them in ways that haven’t been well covered by the trade press before. 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. If you need a PROFESSIONAL TOOL that works and does what it is supposed to do …this is it, baby. Often I’ll pair that with another AT4050 with its null pointed at the singer’s mouth. I had an opportunity to hear the AT4050 on drums, voice, and acoustic guitar. 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. Audio-Technica designs, distributes and manufactures problem-solving audio equipment. The 4050CM5 is next in line. In part I, we’ll try the mics on drum overheads, in five different configurations. The old spider shockmount’s suspension string disintegrated very quickly, but I replaced it with a thick shoestring. I couldn’t find any suitable ones so far that work well with LDCs, and this one looks fantastic! It’s a snap to pull the mics out of the mounts, and scarcely harder to put them back in. Posted in Drums, Microphones, Reviews | 7 Comments », Previously: CAD E100S Voiceover ReviewNext: Cloudlifter CL-Z Review. The published trace shows a consistent Figure-8 pattern from 200Hz–8kHz. The other was provided by Audio-Technica on an evaluation loan. When recording small ensembles mic placement in relation to the OTHER players becomes quite important. 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). Manufacturer Part Number (MPN): AT4050 CM5 Warranties and Docs + Audio-Technica Warranty. The AT4050’s make the record sound more believable, if that makes sense. The other OH configurations I tested provide a full palette of sonic choices. The three polar patterns, high SPL capability, and moderately low self-noise make the AT4050 versatile and unfussy — you won’t have to work to get a good sound. Overall, the sound is nice, but bright, as the capsule is a bit smaller than most large diaphragm condensers. Re-reading Paul Simmans’ review of the AT4047MP, I’m struck that he summed up my feelings about this shockmount design precisely. The mics don’t sag, even when suspended sideways — see the Blumlein photo above. Question: I’m looking for a similar stereo-bar mount as in the pictures. it picks up pristine bright sound and basy enough to pack the punch many are missing. In short, I would not hesitate to use the AT4050’s above my drums. If you’re shopping for such mics, the AT4050 should be on your shortlist. I tried both in figure-8 for spot miking in an orchestral situation and was shocked how much more accurate the older 4050 was in that pattern than the newer one. 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. 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. The AT4050 was initially released in the mid-1990s, as the first multipattern condenser in Audio-Technica’s groundbreaking 40 Series. The heavy hands of this player came right through. Some future date maybe, I do need a solid LDC. 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. Played MUCH harder. I just ran across this review… The RecorderMan configuration is a personal favorite, and through the AT4050’s it sounds great. And don’t get me started on the AT4047…I ended up selling the U-87 because of that puppy! I really love the sound of Blumlein, because the stereo sound is great and it gives a sense of the room behind the mics. The cymbals are clear and defined without sounding brittle or harsh. The body is well-damped. The snare sound is crisp and clean. 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 other figure 8 advantage is the very defined and deep null points on the sides of the mics. These mics are more familar to my ear than any other, and I love love love the versatility that they employ. The mic actually fell out once, but survived. The AT4050 s dual large-diaphragm design provides consistent, superior performance in switchable cardioid, omnidirectional and figure-of-eight polar pattern settings. My first experience with the AT4050 was just under a year after I started working at a recording studio. 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. No hype, no BS, just really good sound. Yet the mic has enough options to facilitate experimentation, enabling you to fine-tune or significantly alter what it hears. These configurations present differing challenges for the microphones. They added space, and splash, real depth, and air. I recorded the standards, as well as Blumlein (crossed Figure-8s) and Mid-Side (Cardioid plus Figure-8). I can place one player in the null and get a really great sound of the source I’m pointing the mic at, without having to worry about an excess of the other player. Where can I purchase it? They’re very quiet IMO, and just a little bright, but not in an unpleasing way. 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. This is the perfect mic for pop and r&b, rock singers sound amazing and many salsa, bachata singers seem to just SHINE with it too. Workhorse indeed and the flagship of the 4000 series in my opinion. The grille does not deform when squeezed. And at their best, they somehow improve what I was hearing in the room. Maybe someone dropped the newer one or I overlooked something in my comparison, but the off axis rejection was superior for the older 4050. Great mic. This also becomes quite useful when recording singing guitarists. Listen closely, and you’ll some throne squeaks. I wish I owned more than one. Because both Blumlein and MS capture 50% off-axis sound, consistent polar response is critical to getting usable tracks. we’ve used AT4050s as our studio workhorses for years and years at Dallas Audio Post. I hope that the new shockmount holds the mic better. Normally when I publish drum-overhead mic tests, you’d hear just those two mics (or in some cases, just one mic, argh). But for drum OH at least, the self-noise on these mics is inaudible. Case in point: This week I recorded the same drum-set, with the same mics, in the same room. 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. This is in part because the AT4050’s Figure-8 pattern is nearly perfect. Do more reviews like this, please! He had also requested my brighter, louder, hihats (which I barely ever use… or encourage). AB captures a subjectively bigger kit, with a much wider stereo spread (and the risk of a hole in the middle) due to the space between the mics. I had the AT4050’s in Omni and they did exactly what I expect them to. This leaves me compression and EQ options that I would not have if there were a ton of bleed from the instrument into the vocal, and vice versa. I have a pair of AT4050’s and an AT4047, not to mention maybe 25 + others. Listening back, I’m struck that, at their worst, these mics sound honest. I own an older 4050 that I bought used on eBay and had a newer (late 90s manufacture) 4050 from work. The AT4050 Recorderman track is dry, clean, detailed, and expressive. “Tripolar” (3-pattern) FET condensers are the sort of mics that every studio should have a couple of, simply because they’re so useful. Hi! 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’ve used the AT4050’s as room mics on acoustic ensembles a number of times as well. Anyone who has used the other was provided by Audio-Technica on an evaluation.... The lowest setting captures much more informative and applicable to the real world CM5 and! To show at4050/cm5 vs at4050 less common OH setups drum-set, with the AT4050 ’ s to Cardioid and turned mics! 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