Audio-Technica AT2050 Multipattern Condenser Microphone

Audio-Technica AT2050 Multipattern Condenser Microphone

The Audio-Technica AT2050 is a large-diaphragm condenser microphone with three switchable polar patterns: cardioid, omnidirectional and figure-of-eight. A dual-diaphragm capsule keeps the pattern definition consistent across its 20 Hz to 20 kHz frequency range, so the microphone adapts to the session instead of forcing the session to adapt to it. One microphone can cover a close vocal in cardioid, a room or group in omni, and a duet or mid-side style arrangement in figure-of-eight. A switchable 80 Hz high-pass filter and a 10 dB pad complete a genuinely flexible studio tool.

Key features

• Three switchable patterns: cardioid, omnidirectional and figure-of-eight
• Dual large diaphragms, gold-vapourised and aged for stable performance
• Frequency response of 20 Hz to 20 kHz
• Maximum SPL of 149 dB, rising to 159 dB with the pad
• Switchable 80 Hz high-pass filter, 12 dB per octave
• Switchable 10 dB pad for loud sources
• Low self-noise of 17 dB and a dynamic range of 132 dB
• AT8458a shock mount and protective pouch included

Three patterns, three different microphones

Cardioid is the everyday setting: sensitive at the front, rejecting sound from the rear, and the right choice for vocals, spoken word and most single instruments in untreated rooms. Omnidirectional hears equally in every direction, with no proximity effect, which suits ensembles, room capture and sources that sound best with air around them. Figure-of-eight hears front and back equally and rejects the sides almost completely, enabling duets facing each other across one microphone, interviews, and stereo techniques when paired with a second microphone. Switching patterns changes the room’s contribution as much as the source’s, and experienced engineers treat it as a tone control in its own right.

Handling loud and quiet alike

The AT2050 pairs high SPL handling with low noise, which is the combination versatility actually requires. With a maximum input level of 149 dB, and 159 dB with the 10 dB pad engaged, it can stand in front of guitar cabinets, brass and drums without breaking up. At the other end, self-noise of just 17 dB A-weighted and a signal-to-noise ratio of 77 dB keep quiet acoustic instruments and soft voices clean, and the 132 dB dynamic range means one gain setting rarely has to cover both extremes in a single take. Sensitivity is rated at minus 42 dB with an output impedance of 120 ohms, an undemanding load for any modern interface or preamp.

Filters, pad and setup

The 80 Hz high-pass filter rolls off low-frequency rumble, traffic noise, air-conditioning and handling vibration at 12 dB per octave, and it also tames the bass build-up of close cardioid vocal work. Engage the pad before the preamp when a source is hot enough to clip the input. The microphone runs on 11 to 52 V DC phantom power, drawn at 4.7 mA, through a standard balanced XLR cable. The included AT8458a shock mount isolates the body from stand-borne vibration, and a threaded adapter covers both 5/8-inch and 3/8-inch stands.

Where it earns its keep

At 412 g and 170 mm long, the AT2050 is a manageable side-address microphone for home and project studios. It records vocals and voice-over, acoustic guitar, piano, drum overheads and room ambience, and its pattern switch makes it the microphone to buy when one microphone must cover several of those jobs. Position still matters more than processing: choose the pattern first, place the microphone by ear, then use the filter and pad to finish the match to the source.

Choose the AT2050 if your recording work changes from session to session. Three true patterns, serious SPL handling and low self-noise put it a class above fixed-cardioid microphones at this level.