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. The grille does not deform when squeezed. That pair of mics have been on a ton of records, on a ton of sources. He had also requested my brighter, louder, hihats (which I barely ever use… or encourage). This is in part because the AT4050’s Figure-8 pattern is nearly perfect. The AT4050 was initially released in the mid-1990s, as the first multipattern condenser in Audio-Technica’s groundbreaking 40 Series. Manufacturer Part Number (MPN): AT4050 CM5 Warranties and Docs + Audio-Technica Warranty. For example, the Recorderman configuration puts the mics very low over the drum kit, potentially causing the mics to overload. highly recommended. it picks up pristine bright sound and basy enough to pack the punch many are missing. _wpaudio.enc['wpaudio-5fc361d699fe6'] = '\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\u004d\u0053\u0033\u002e\u006d\u0070\u0033';Mid Side (If you haven’t seen it, my in-depth comparison of drum overhead position techniques goes into much more depth on this topic.). I think the AT4050 sounds good in most of these configurations. In part I, we’ll try the mics on drum overheads, in five different configurations. “Tripolar” (3-pattern) FET condensers are the sort of mics that every studio should have a couple of, simply because they’re so useful. I have a pair of AT4050’s and an AT4047, not to mention maybe 25 + others. The body is well-damped. Yet the mic has enough options to facilitate experimentation, enabling you to fine-tune or significantly alter what it hears. For example, XY and MS capture a subjectively small but very present kit sound (while offering excellent mono compatibility). 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). Listening back, I’m struck that, at their worst, these mics sound honest. The mics don’t sag, even when suspended sideways — see the Blumlein photo above. The other figure 8 advantage is the very defined and deep null points on the sides of the mics. I had the AT4050’s in Omni and they did exactly what I expect them to. They’re excellent VO mics, stand up well to the U87s in other studios, and they actually work very well as foley mics as well. The headbasket is a relatively open weave, made of just two layers of metal mesh. But you won’t hear any hiss from the microphone. The 4050CM5 is next in line. I still do not trust it completely, as I do not believe that it holds the mic securely enough. I’ve used the 4050s on bigband horn sections, as OH, on choral groups,at bluegrass festivals, on college string ensembles, and in coffeehouse recordings. The XY track is the only one I don’t care for; it sounds colored in an unflattering way. Do more reviews like this, please! And at their best, they somehow improve what I was hearing in the room. 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. Mic Database | Mic Reviews | Microphone Sale, Monday, April 23rd, 2012 | by matthew mcglynn. I put them on straight stands at the lowest setting. The published trace shows a consistent Figure-8 pattern from 200Hz–8kHz. Listen closely, and you’ll some throne squeaks. The top end is fairly well extended and super clear, upper mids are clear, and the low and low-mids are full and rich. 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. Almost every woman singer I’ve used a AT4050 with has loved the sound, and so have I. It’s the perfect ‘modern clear’ vocal mic to have as the antithesis to ‘vintage/vibey’ sounds. And don’t get me started on the AT4047…I ended up selling the U-87 because of that puppy! I couldn’t find any suitable ones so far that work well with LDCs, and this one looks fantastic! I’ll often record the vocal with a AT4050 in figure 8 to keep the guitar out of the vocal sound. They added space, and splash, real depth, and air. Audio-Technica provided no compensation for this review. 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. The heavy hands of this player came right through. A couple of those choices are older and vibey. My personal favorite use for the AT4050 is drum room mics. My first experience with the AT4050 was just under a year after I started working at a recording studio. Pepper them into the close mics, and don’t even think about artificial reverb. In short, I would not hesitate to use the AT4050’s above my drums. The AT4050’s make the record sound more believable, if that makes sense. 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