A New Prospective on Microphone Technology by Dean L. Farley.
Over the 35 years since I took up playing the guitar, I have been continually intrigued and mystified by a microphone’s ability to dramatically and (sometimes) drastically affect your guitar’s sound in both recording and live performance applications. For this review, we decided to concentrate on three key areas: Acoustic guitar miking, amplifier/cabinet miking, and ambient room miking for both electric and acoustic guitar.
The other $64,000 question pondered was, “How much QUALITY sound can you get for the least amount of money?” We contacted several manufacturers to assist and participate in our quest(s) with three highly respected firms keenly responding with a battery of microphones for our perusal; Audio-Technica, AKG and Conneaut Audio Devices (CAD a.k.a. Equitek).
Our study was conducted over the course of a nine month period and was (saying the least) very exhaustive and INTENSE. Much time was spent with each and every one of our test mics. This, in itself, was extremely time consuming but well worth the effort, because hopefully, it will give our reading audience some new insights into just how incredibly crucial the microphone’s role is in directly translating your own “signature sound” and style to the listener via recorded mediums or live performances.
I definitely learned a tremendous amount during this exercise of extraordinary audio excess, so profuse thanks are in order to all the manufacturers who contributed to our cause. I sincerely hope that my findings expressed here can ultimately help you in correctly choosing the proper microphone for your every purpose and need. Microphones tested were in the $200 to $1695 price range.
There were several types of microphones that we took through our rigorous testing minefield; the unidirectional dynamic ball-style, the large diaphragm style condensers with selectable multi-polar patterns [cardioid, omnidirectional, figure-eight], pencil-style condenser types [both omni and unidirectional], with the larger capsule “supercardiod” mics and glue-on transducer-style condenser mics rounding out the selection array provided by our friendly, helpful audio mavens.
Our test guitars and amplifiers were very simple and straighforward, the motto being, “NO fancy ’boutique’ stuff here!” We relied on a 1992 Martin 000C-16 for our acoustic tests and for our electric musings, a very sweet, totally stock 1996 Fender “60s Collectible Series” Stratocaster was chosen for the majority of our exhaustive tests. Our much-loved test amplifier was a 1994 Peavey Classic 30 combo, complete with its companion 112E speaker enclosure [the Sheffield speaker found here is my personal favorite for just about ANY musical situation]. Since the original set of tubes were entirely shot [R.I.P.], their replacements were a quartet of spectacularly hand-matched Sovtek EL-84s, courtesy of Trainwreck Circuits’ Ken Fischer. This alone was our absolute guarantee of “ridiculously rich harmonic content!” Completing the amp line-up [as a real treat and a true challenge of its own], a Vox Pathfinder 15 watt solid state practice combo was thrashed though with the intent to discover precisely which microphone in our test selection would make this amp scream beyond even our own imaginings [and its tiny 8-inch speaker]. Strings used were exclusively Pyramid’s Western Bronze 80/20 formula [12-52] and Pure Nickel Roundwound [10-46] sets.
Recording was done in both the analog and digital realms, using a Yamaha MT-50 four-track for analog, additionally utilising Sony’s PCM-R300 DAT recorder for going direct to digital, with also having a Roland VS-880EX digital workstation at the ready for quick comparison/reference between analog and digital audio formats. Microphone preamps/compressors were A.R.T.’s Dual MP and TubePAC units, adding much to our amazement and delight. Lexicon’s fabulous new 24-bit MPX-100 Dual Channel Processor was in attendance for any added ambiences or effects [only of course, after hearing the true results “dry” before any coloration was attempted]. E.Q. during ALL testing was “flat” on ALL recording devices. This way, the mics spoke for themselves with totally “uncolored” honesty.
Here’s the rundown of the mics and test findings as to how each mic reacted and how its sonic character and type may give you a head start in finding out exactly “who” you are BEFORE you’re about ready to lay it all down in the studio. Studio time is expensive and one can waste a tremendous amount of valuable time miking everything up—- of course, you’re hoping all the while, that your ultimate sound will appear on tape! If you KNOW ahead of time what it is that delivers the all-important “magical” element(s), that musically are “YOU”; the actual recording process is far less of a chore, leaving you wide open to create at your highest conceivable levels.
Audio-Technica is first up as they provided us with a huge amount of test product and for the simple reason that they may have the most extensive range of microphones anywhere.
AT4050/CM5 ($995 retail) This large-diaphragm capacitor condenser mic has a MASSIVE low-end “chunk” to it. It is really great for fattening up any guitar if that is what’s needed for the occasion. I could easily get my test guitar (the Strat) to sound a lot more like a vintage Les Paul Junior. This mic is very sensitive and can pick up sounds far away from the signal source, so it is best to use its pad at the lower setting (-10db) to avoid hearing your girlfriend’s threading needle dropping on the rug from her first story sewing lair (keep in mind my testing and recording was done on the second floor)! Precise and super detailed in construction, features include a selectable three polar pattern switch and bass roll-off, with shock mount included. Also a nice “ambient” mic for picking up your recording environment’s natural sound. Acoustic guitars sound rich and deeply resonant in this particular application. “BIG” is the word to describe this microphone, and if “FAT” is what you’re after, look no further than the AT4050/CM5!
AT4033a/SM ($495 retail) This mic is similar to the AT4050 but slightly smaller in size and has a cardioid polar pattern only. Brighter sounding than the AT4050 and “snappier” in tone, this mic is basically an economy version of its big brother. Shock mount is included and this mic is good for people on a tighter budget if they cannot afford the AT 4050. Useful, “open” and good-sounding in all applications. Same features as above [pad and bass roll-off switches] and construction is identical to that of the AT4050/CM5.
AT3525 ($339.00 retail) If you like the quality and sound of the AT4033a, the new “30 Series” represents a tremendous value for the money if you’re strapped for cash but want a really decent sounding all-around microphone for any application. I was impressed by this microphone series in general, its size is very convenient, picture a “mini-4033a” in appearance. Standard bass roll-off and pad switches are located on the bottom of this unit. The AT3525 has a very attractive shock mount and is Audio-Technica quality, no doubt about it! Also included in their new “30 Series” is the AT3527 and AT3528 ( $259.00 retail) an Omnidirectional pencil condenser and Cardioid pencil condenser respectively. I was taken aback by the AT3528, it is a LOT better than the Shure Beta Green 4.1 condenser I was using before [and costing MORE than the AT3528, too]! Clean sounding and a really nice workhorse for recording acoustic guitar (especially when aimed at the neck/body joint of your guitar). The AT3527 is a great choice if you want to blend in the other areas of your recording environment (since it is an omnidirectional capsule). Superb job on the “30 Series”, Audio-Tehnica! Great sonics for comparatively little coin.
AT4041 ($395.00 retail) This microphone has to be one of the best sounding pencil condensers I have heard, very accurate, detailed and crisp. Also highly sensitive, this microphone (pointing towards an open window) managed to pick up some birds that were singing during a rainstorm outside as I was testing its capabilities in capturing ambient sounds from Nature herself. My educated guess is that the source of the bird’s singing was at least a couple blocks away. After being outdoors for at least twenty minutes looking for our unexpected guest’s position, I couldn’t see OR find the source. The tape revealed their presence throughtout the entire duration of my “hide and go seek” mission. This mic proved extremely useful for acoustic guitar work again (not to mention being a great mic for hi-hats, too). More dough than the AT3528, but what do you expect for the price difference? The pencil condenser mics would, perhaps, seem to be the hardest to manufacture considering all the parts crammed into a very small package… am I presuming this to be fact?
ATM25 ($275 retail) This microphone is considered a “moving coil dynamic” type and has some interesting sonic characteristics for the electric guitar, keeping in mind that it was designed for use on the kick drum originally. Used with electric guitar, however, it exhibits a very deep rich “bluesy” vibe to it. By far the deepest sounding of Audio-Technica’s dynamic line-up, it also shines as a great mic for use with the electric bass (not forgetting its use for a kick mic).
ATM41a ($200.00 retail) This dynamic mic proved to be the smoothest sounding of the tested Audio-Technica range from my ear’s perspective, even all the way across the frequency spectrum making it a fine choice for any style of music from R&B to Blues with the player quickly figuring out that it would excel as a fine choice of microphone when used with a killer archtop jazz guitar! Not a bit of harshness here, very warm, open and “breathy”, for those of you seeking this type of “buttery” sound, here it is… .
ATM41HE ($220.00 retail) This one has a bit more aggression to it than the ATM41a, making it an ideal choice for any type of Rock, Pop, Blues or Alternative styles of music. Brighter than the aforementioned ATM41a with more “sass” in its performance, the open strings of a chord “pop”out on tape! A very nifty mic indeed and well constructed to boot (this being something in common for all the A-T dynamics as the rule).
ATM63HE ($210.00 retail) This mic is the “in-between”, tonewise being a cross-hybrid of the ATM41a and the ATM41HE bred together. As with all microphones, you have to use your ears [and your fingers!] very carefully to find the right “flavor” plus “attitude” that suits you subjectively and matches your own playing technique from a “touch-sensitive” point of view. This may be exactly WHY microphones are so different from each other and MUCH MORE FUN when you hit the bullseye! Every player has their “artist” side lurking inside of them AND a certain microphone can be downright pivotal and FAR more responsible for capturing your “own” sound than you ever gave it the proper credit for doing. Also, do not forget one fact stated here: if I play even a tad bit harder than you do, every microphone will respond and sound completely different for each of us…night and day difference in too many cases I have witnessed over the years.
ATM23HE ($235.00 retail) Another cross-breed dynamic microphone, this unit is a little less agressive than the ATM41HE with a slight difference: The ATM23HE “bites” nicely on its attack [using a distorted signal on the instrument’s amp] but as the signal decays, it “evens” out fairly quickly, [cleaning up the tone], whereas the ATM41HE will “hang” onto the sustained note(s) a bit longer as the signal begins to decay and flatten out before it is re-picked and “attacked” for the next musical phrase. This is a microphone that is highly dependent upon your own personal picking technique; this factor alone can “control” the ATM23HE’s dynamic reactions very easily. An intriguing choice for the guitarist who wants a decidedly different overall sound. Here, musical genres are all up for grabs and who knows, YOU very well may invent a new genre or musical trend with this one! A “must hear” microphone for any guitarist… regardless of stylistic tastes.
AT4060 Tube Condenser Microphone ($1695.00) This is one of the newest offerings from Audio-Technica and what a mic it is! This single cardioid pattern microphone is truly amazing as it even makes your mistakes sound fabulous. Powerfully rich and accurate, the AT4060 does it all and first class! From the very first noise I heard on tape I knew that I had run into something very unique soundwise. This microphone is extremely “in tune” with your own style of playing as it responds to your every whim. If you want explosive, you’ll GET explosive. If you desire all the subtle nuances of a particularly delicate section of music to be brought out in all its glory, simply back off on your right hand’s attack a tad and it will all be there on tape when you hit the playback button. An amazing feat of engineering and design, one look at the AT4060’s hefty separate power supply tells you right away that something powerful is going to happen! Need I mention that this microphone shines for vocals too? Every application in which I tested the AT4060 sounded incredible… period!
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