Review: Audio-Technica AT2050

The first ever capacitor microphone was originally dreamt up and developed by a one E. C. Wente at Bell Laboratories in the United States, in 1917. Hands up who knew that? I was so surprised to discover this fact that I hastily conducted a survey of my colleagues to test whether anyone else knew (or could guess) the origins of the capacitor microphone. My suspicions were confirmed: like me, most people associated the formative years of microphone design and manufacture with the Germanic regions of Europe.

As we’re all well aware, the recording fraternity typically lusts after microphones from manufacturers such as AKG, Beyerdynamic, Sennheiser, and of course, Neumann. It’s interesting that these familiar brands still maintain their iconic status when, in actual fact, there are manufacturers all over the world making great mics: Russia, America, Japan, Australia and China being some of the other notables.

But of all these manufacturers – and regardless of where on earth they’re based – Audio-Technica is undoubtedly one of the market leaders, offering microphone choices for all recording situations, styles and methods. Why some people still see the brand as a ‘second choice’ option remains a mystery, and often leads me to wonder whether Audio-Technica’s somewhat unremarkable, uniform designs might have so mething to do with it. I suspect many of us simply think they’re too plain looking to warrant the expense. Whether we realise it or not, often what we’re really after is a microphone that looks ‘cool’.

Audio-Technica microphones are often referred to as ‘workhorses’, rarely revered in a way that someone might a Neumann, regardless of its vintage. One other possibility is that Audio-Technica microphones tend to look very similar from one mic to another, rather than exhibiting definite and identifiable physical characteristics between the models – like, for example, the familiar shape of an AKG C-414 or a Neumann U87. Perhaps the fact that one Audio-Technica looks like the next breeds a perception that all Audio-Technicas sound much the same. Dunno. It’s difficult to put a finger on the reasons behind this perception, but regardless, the fact remains: Audio-Technica is not a brand to be sneezed at.

Manufactured primarily in Japan, Audio-Technica has, in recent years, opted to manufacture a budget line of its mics in Taiwan. The Taiwanese ‘20’ range microphones are appreciably cheaper than the more upmarket ‘40’ series, but when comparing the 2050 with both a new 40-series BP4025 and an older AT4047, I really can’t fault the build quality of the Taiwanese model. The switches feel identical to the 40-series mics, the grilles look to be identical, and the screen printing on all models look equally up-market. The main differences seem to be in the final finish quality, with the 20-series enamel looking slightly glossier, and screws countersunk further into the bodywork. The 20 series are by no means poorly made microphones; the cost savings are no doubt derived from cheaper components and lower wages, rather than overall build quality.

ONE FOR ALL

Which leads me to the subject of this review: the Audio-Technica AT2050. This particular Taiwanese mic is a bit of an all-rounder, offering a dual capsule, multi-pattern condenser diaphragm, with the classic triumvirate of polar patterns: cardioid, omni and figure-eight. Versatility is an obvious strong point of this mic, with the figure-eight pattern suitable for any mid-side miking you care to explore (or Blumlein array if you have two in the arsenal). Then there are the myriad situations where an omni pattern is useful: room ambience, group backing vocals, or anywhere you need to avoid a microphone’s proximity effect. The mic also features an 80Hz high-pass filter and a 10dB pad switch.

Speaking of which, one of the big calling cards of the AT2050 is its high SPL handling capability. The mic will handle levels up to 149dB – 159dB with the pad engaged. Frequency response is rated at 20Hz through to 20kHz, impedance is rated at 120Ω and the sensitivity is rated as 7.9mV (using a 94dB reference). This would account for the extra gain I had to wind in when using the 2050 alongside a 4047 – a mic with a published sensitivity of 17.7mV. That said, there certainly wasn’t any lack of gain for typical use – just a case of raising the preamp gain four or five dB. Noise specs of the 2050 also come in at a respectable 17dB. And while I think of it, don’t fall into the trap of thinking the AT2050, when set to cardioid, is the same as the AT2020 or AT2035 – the specs and frequency response are quite different.

TAKING IT FOR A SPIN

Knowing the high SPL tolerance of the 2050, the first source I put it in front of was a kick drum (which was itself not so surprisingly surrounded by a full drum kit!). The session in question involved a rather annoying 22-inch birch kick drum where my usual pick of dynamics (a Sennheiser MD421 and an Audio-Technica ATM25) simply weren’t cutting it. The room I was recording in wasn’t that flash either, although with the timber walls and parquetry flooring combining with high ceilings, I was sure we could achieve a respectable result. Out came the AT2050. The requisite cubby-house of doonas and pillows was built around the kick drum and pretty soon my first issue with the 2050 was revealed, or more precisely, with its supplied AT8458 shock mount. While the mount looked to be a symmetrical design, the mic actually mated with the mount more snugly in one direction over the other. Unfortunately, I spent five minutes fiddling with the mount with the mic placed into what was essentially the poorer fit. There wasn’t a lot of difference, and I’m sure after a bit of use the mount would stretch to suit either mounting possibility. As it was, with the mount in brand new condition, a slight twist of the microphone resulted in the polar pattern, pad and filter switches being inadvertently switched – leaving me scratching my head as to what the heck was going on with the mic. One minute the levels were all good, and moments later – after a slight twist of the mic – I’d inadvertently bumped it into omni and engaged the pad!

So, back to the kick recording, did the AT2050 cut it? Indeed it did. I’ll hasten to add the mic never distorted or clipped – testament to its high SPL rating. I should also point out that I was using the ‘recorderman’ methodology (overheads equidistant from both snare centre and the kick beater – a quick web search will get you clued in to this almost foolproof miking technique), along with some room mics for a bit of insurance and colour. Suffice it to say the recorded AT2050 track did a fine job of filling in the kit’s lower frequencies, capturing ample bottom end, and a useful degree of upper-midrange click.

ONE HUMP OR TWO?

Which brings me to the four and 10kHz bumps present in the AT2050’s frequency response curve. There’s a reasonably rapid rise from flat to about 3dB between 2kHz and 4kHz, which becomes quite apparent when using the mic to record a guitar amp. This certainly negates any need to wind in said frequencies post recording. Following the 4kHz bump, the response quickly flattens, rising again by about 4dB at 10kHz before slowly rolling off into oblivion. These peaks remain reasonably consistent with the three polar patterns, and frankly sound quite nice on distorted guitar – providing plenty of bite to the recording. The results were also favourable with acoustic guitar, the mic providing a bright but not brittle top end. When it came to vocals I was unfortunately limited to testing the condenser with my own voice, to wit the AT2050 wasn’t really the right mic, the peaks making me sound far more sibilant than I would have hoped. But then, finding a mic to match an idiosyncratic (read: not-very-good) voice like mine would require a pretty vast array of mic options. I’ll leave this aspect to your own auditioning and discretion.

Overall I’m thinking you can’t go that far wrong with the AT2050. For the price, you get a well made and respectable microphone, with the added benefit of multiple polar patterns. No doubt you could broker a sensible deal for a pair down at your local audio gear vendor, and end up possessing a very useful stereo pair to add to your mic collection.