AT4050: Soliciting Opinions

G

ggrantly

Veteran
The AT4050 is a multi pattern large diaphragm selling for around $700.

Looking for a versatile mic pair in this style for a variety of small studio projects where only a few (2-4) tracks will be recorded and also some voice work.

If anyone has a 4050, how do you like it? Does the multi-pattern come in handy?

Are there any suggestion for a similar style mic that might perform better for the money, and or cheaper. Rode NT-x series comes to mind. AKG makes some stuff, but I have zero experience with them.

TIA,
Grant
 
I have the older 4050cm5 and it has been a workhorse. The multi-pattern is handy, but only if you tend to have applications that call for omni or fig8. I find a pair of them rigged for M-S stereo (one cardioid, one fig8) works very well.
 
The AT4050 is a decent mic. Multible patterns are extremely useful for all kind of scenarios. However one mic can't be the 'end all' and be good for everything. Three or four good dynamic cardioids (SM57s for instance) and two SD condensers would be a good start for a project music studio.
 
Thanks for the responses. I have to admit I'm not 100% sure where I'm going with this. I have a variety of small condensers, shotguns, and a couple of re/50 interview mics. But I would like to add something more suitable for VO and music. Though I suspect anything I do musically will be small venues and likely acoustic in nature. Possibly just an xy stereo pair.

I have tried some different mics for VO (for my voice) and never been satisfied. I've tried both a PR40 and NTG3 and been pretty unfulfilled. So one of my uses would be an improvement there, but maybe that would be a single something else entirely.

Does anyone know if the 4040 has the same element just without the ability to change pattern. I suppose the real question is how often I would use the omni-pattern compared to a basic cardioid. I do already have a omni capability via small condensers.

Grant

Edit: Neumann has the TLM-102 for about the same price as the 4050 which might be another option.
 
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ggrantly said:
But I would like to add something more suitable for VO and music. Though I suspect anything I do musically will be small venues and likely acoustic in nature. Possibly just an xy stereo pair.

I have tried some different mics for VO (for my voice) and never been satisfied. I've tried both a PR40 and NTG3 and been pretty unfulfilled. So one of my uses would be an improvement there, but maybe that would be a single something else entirely.
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VO and music are two very different things. Lots of people do VO with a 416 believe it or not (they love that proxminity effect). But I've never seen anyone doing serious music work with anything more restrictive than a cardioid.

All I'm sayin' is, you might want a VO mic, and a stereo pair for music.

ggrantly said:
I suppose the real question is how often I would use the omni-pattern compared to a basic cardioid. I do already have a omni capability via small condensers.
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It depends on what you are recording and where. In a good acoustical environment such as Boston Symphony Hall you'd likely sell your horse for a pair of omnis. In less good acoustical spaces, you'd likely step up a bit to open cardioids, sub cards, or cards. A great many piano recordings are made with AB omnis as main pair. The 1950s Decca and Mercury orchestral recordings were made with just three omnis (using very different mic techniques). But the most used mics in acoustical settings tend to be cardioids since they work well in all kinds of acoustical environments and with all kinds of acoustic instruments and voices.

The AT4050 has an excellent reputation in this area, as do many others, like the Shure KSM141.

OTOH, lots of people (recordists, singers) like LDCs on voice. Here the Neumann mics get a lot of attention. What people seem to like is the ability to match the oddities of various LDC mic responses to the oddities of human voices. Most LDCs destined for voice work have an interesting presence rise in the response curve which doesn't work as well for instruments.

I'm just sayin' that different work requires different tools. And there seems to be a lot more tools for recording music than there are for booming dialog.
 
Bruce,

I gave the ntg3 a try for VO since it has been touted as similar to the 416. And some people love the 416 for VO right? It didn't do much for me, though I have to admit the room put this mic at a distinct disadvantage. Im getting ready to acoustically upgrade (within limits) my office space. I think before I do too much with this, I'll give my exiting stuff another test post improvements. As I mentioned, and as you suggested, my VO mic might be something entirely different than mice for music projects. Though there seem to be folks out there who do VO with a large condensors. I don't really care what type of mic it is, even a string with tin can, if it gives me the sound I like.

Not having any experience with large condensers, I'd like to try one or two just because. I can deal them away if they don't cut ice.

Grant
 
ggrantly said:
...there seem to be folks out there who do VO with a large condensors. I don't really care what type of mic it is, even a string with tin can, if it gives me the sound I like.
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That's the right attitude! Whatever works.

You might have a recording studio near you that has a nice mic locker. A few hours with them might let you run through a bunch of mics, let you hear your voice where the only thing different is the mic. This would, perhaps, at least point you in the right direction. Just a thought.

ggrantly said:
Not having any experience with large condensers, I'd like to try one or two just because.
Click to expand...

The Neumann TLM 102 is fairly well liked. You might also try the TLM 103 which is more expensive, but has a love/hate thing going, which to me means that it either works well with your voice or it doesn't.

Don't forget pop filters in front of LDCs. The two Neumanns above seem to be very sensitive to plosives. While dropping the intensity of the plosives, you can also use the pop filter as a distance gauge to control proximity effect.

You might also want to look at something like the sE Electronics Reflexion Filter. What I've read about it is quite positive, especially for spoken voice work.
 
Yes I had been considering the TLM-102, the 103 is out of my network just now.

Anyone have any comments on the SM7b for VO? Ahh, so many mics so little time. I just have a hard time getting excited about most dynamic mics….

Grant
 
The Shure SM7 is a good mic. Like the EV RE20/27, it's a dynamic, so the output level is inherently lower than a condenser.. so a quiet mic preamp is even more important than usual.
No mic will fit everyone's voice perfectly, try out as many as possible.
 
I have the AT4050, but I tend to use my Rode NT2000, which sounds exactly the same as the Rode NT-2a, and I think the Rode has a little more flavor. The AT4050 is accurate, but to the point of being sterile IMO. I did a comparison a while back...
 
I own a pair of AT4050, you can buy them NEW under MAP price for $490 on ebay.


They are, simply, AMAZING, period.


I own 54 mics and constantly returning to the AT4050, likewise its 3 mics in one. Its become a standard for many people.
 
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