Audio-Technica AT4050 Multi-Pattern Studio Condenser Microphone

Audio-Technica AT4050 Multi-Pattern Studio Condenser Microphone

The Audio-Technica AT4050 is a large-diaphragm studio condenser microphone with three switchable polar patterns, designed to cover vocal, instrument and ensemble recording from a single microphone. Its dual-diaphragm capsule uses 2-micron-thick, vapour-deposited gold diaphragms that go through a five-step ageing process, so the response the microphone ships with is the response it keeps over years of studio use. A switch on the body selects cardioid, omnidirectional or figure-of-eight pickup, which makes the AT4050 equally at home on a lead vocal, as a room microphone, in mid-side and Blumlein stereo pairs, and on sources such as acoustic guitar, piano, strings and drum overheads where the pattern choice shapes the result as much as placement does.

Key Features

• Three switchable patterns: cardioid, omnidirectional and figure-of-eight
• Dual-diaphragm, externally polarised condenser capsule
• Frequency response of 20 Hz to 18,000 Hz
• Maximum input level of 149 dB SPL, rising to 159 dB with the pad
• Switchable 10 dB pad and 80 Hz high-pass filter (12 dB per octave)
• Transformerless circuitry for clean low frequencies and fast transients

Pattern choice as a recording tool

Cardioid is the working pattern for most vocals and close instruments, rejecting sound from behind the microphone and adding gentle proximity warmth at close distances. Omnidirectional removes proximity effect entirely and hears the room evenly, which suits ensemble recording, room ambience and sources that sound best with natural space around them. Figure-of-eight picks up equally front and back while rejecting the sides, enabling mid-side stereo with a second microphone, face-to-face duet recording, and rejection of an unwanted source placed at the microphone’s null. Because the dual-diaphragm design holds its pattern definition across the frequency range, off-axis sound stays tonally consistent rather than turning coloured and phasey.

Handling level, noise and low end

With a maximum input level of 149 dB SPL, and 159 dB with the 10 dB pad engaged, the AT4050 can be placed in front of guitar cabinets, brass and drum kits without the capsule or electronics giving up. A 132 dB dynamic range and 77 dB signal-to-noise ratio, with self-noise of 17 dB SPL, keep quiet performances clean without hiss dominating the recording. The switchable 80 Hz high-pass filter trims rumble, stand-borne vibration and excess proximity bass before the preamp, which is usually a cleaner result than cutting the same energy later in the mix.

Connection and what is included

The AT4050 connects through an integral 3-pin XLRM output at 100 ohms impedance and requires standard 48 V phantom power from a microphone preamp, audio interface or mixer, drawing 4.2 mA typically. In the box are the AT8449a shock mount for 5/8-inch-27 threaded stands, which isolates the microphone from stand and floor vibration, a dust cover and a protective carrying case. The microphone body measures 188 mm long with a maximum diameter of 53.4 mm and weighs 510 g, so a sturdy stand and correct shock-mount fitting are worth arranging before the first session.

For project and professional studios that need one condenser to cover vocals one day and stereo instrument work the next, the AT4050 remains the flexible centre of the microphone locker that Audio-Technica’s 40 Series is known for.