Review: Audix A231

Audix is renowned for making quality microphones with innovative designs that focus on how to best capture and enhance their intended source. Commonly seen on live stages, the iconic D series drums mics and OM Series vocal mics are well established. Less often sighted, or maybe just hidden away in studios, is its range of recording mics.

The recently released Audix A231 large-diaphragm condenser mic is designed for the highest quality recording applications, particularly vocals and acoustic instruments. Its familiar shape is made distinctive by the contrast between all black machined aluminium body and the striking gold-plated band around the middle. A large capsule can just be seen through the strong double-woven steel mesh basket. The A231 is supplied with a nice compact stand-mount clip – an effective internal shockmount keeps handling noise low and removes the need for a bulky external shockmount.

Under the basket the externally biased 33mm capsule features a 29mm 3.4 micron gold-sputtered diaphragm made from a heat-treated film that allows the sputtering to continue all the way to the outer edges. Audix claims this increases its effective area by 25%. Low self-noise (12dBA) is achieved through proprietary circuitry that includes an active driven shield that reduces internal interference and capacitive coupling. Sensitivity is 16mv/Pa, max SPL is 140dB.

EASY AS 231

In use, the A231 is a beautiful-sounding microphone, whatever you point it towards. It’s also an easy mic to use – the small standmount helps place the mic in the best position, the high SPL handling eliminates the need for an input pad, and I didn’t miss a HPF. The sound is engaging and detailed with exceptionally smooth high frequencies – it sounds expensive.

The frequency response is wide and flat to within a couple of decibels from 50Hz–15kHz. On vocals the A231 is big in the low frequencies, natural and flattering across the mid-range and it refuses to become harsh or emphasise sibilance. The polar pattern is a classic cardioid shape with good rejection  to sound arriving from the rear for most of the mid-range. Below 400Hz it starts to lose shape and there’s not as much rejection of the low frequencies from behind, and around 100Hz sticks out first if you turn it up in a PA. I didn’t notice it in use but it could affect mic placement in some settings.

LIVE TOO

It may be intended for studio use but it’s strong build and convenient form encouraged me to take it to several live shows. It’s as good an overhead mic as you’ll hear and at 330g its not too heavy for the application. It’s overkill but awesome on guitar cabs. The James Morrison Quartet played the Theatre Royal and James was happy to use the A231 for his trumpet, flugelhorn and trombone. That was a treat for all, he’d sound good playing into a tin can but I was glad to be able to offer him a suitably classy mic – it sounded great.

I lent the A231 to a ragged bunch of local musicians recording live at Phil Mac’s home studio. We swapped the A231 for the popular, reasonably priced large diaphragm condenser they had been using and it was interesting seeing their reaction during playback. Singer Fidel Monk was all smiles and thought it sounded ‘more like him’ while the band noticed the improved sound of both the on-axis vocal and the off-axis room sounds.