Audio-Technica AT4080 Active Ribbon Microphone Review

Aug 18, 2010 1:13 PM, By Russ Long

HIGH-TECH DESIGN OFFERS SMOOTHNESS, EXTENDED TOP END

Polls


Mix Regional

The Mix Regional section for Mix's May 2014 issue focuses on Nashville. Send us your studio news: updates, sessions, new rooms, club performances and installations. Let the Mix audience know what is going on! Send photos and descriptions to mixeditorial@nbmedia.com.

AT WORK
The AT4080 is an extremely versatile mic, and Audio-Technica recommends it for use on vocals, horns, strings, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabs. Its robust design makes it a contender for road applications, as well as in the studio. As an obsessed ribbon microphone fan, I couldn’t wait to put the mic to the test and was pleased with its performance. I received the pair of AT4080s in time to put them to work on the final stages of the Kopecky Family Band project I was producing and engineering with Nashville top-knob Chris Grainger. We used the mics to record acoustic guitar, vocals and xylophone, and loved every minute of it. The first noticeable characteristic of the 4080 is its top end. While still sounding like a ribbon, the mic has an extended HF response with wonderful detail and sheen reminiscent of a condenser microphone and a solid, tight—yet massive—low end.

Recording vocals and acoustic guitars, the 4080 has a smooth, natural sound with a balanced response across the entire frequency spectrum. I initially had some reservation about the dual-ribbon design, as I’ve heard compromised results from other dual-ribbon microphones that I’ve used in the past. This was not the case with the 4080, which has no noticeable artifacts resulting from the dual ribbon. In addition to a prominent proximity effect, the mic is very forgiving about placement, and in every instance it truly captured the intimacy of being in the room with instrument or voice being recorded.

I put the mics to work as drum overheads while tracking Knoxville rockers After Elvis and the result was astounding. The mic’s clear and sparkling top end and natural, warm midrange wonderfully captured the sound of the cymbals, as well as provided the backbone to the basic sound of the drum kit.

I used the 4080 with the Hardy M-1 mic pre and Empirical Labs Distressor to record electric guitars and was equally pleased with the results. Across the spectrum, from sparkling clean to beefy distorted, the 4080 is perfectly suited to recording electric guitars. Due to the proximity effect, I found that I had the best outcome when placing the mic six to eight inches from the cabinet (further than the 1 to 3-inch distance I typically adhere to when using a ribbon mic).

The performance of most ribbon models is extremely varied, depending on the impedance and gain of the microphone preamp used. The active circuit in the 4080 ensures that the mic’s performance will not be compromised by a lesser mic pre. Using the mic to record acoustic guitar and vocals with a stock preamp in my Mackie 1604, I was amazed that the result was still of acceptable quality.

I used a pair of 4080s routed into a pair of Hardy M-1 mic pre’s to record a jazz quartet comprising Charlie Peacock on Rhodes, Chester Thompson on drums, Jeff Coffin on sax and Calvin Turner on bass on the small stage in Nashville’s Bluebird Café. Placing a mic on either side of the stage about seven feet in the air with each mic focused toward the center of the stage yielded a wonderful recording with amazing separation, detail and clarity, and a rich, full bottom end.

The 4080’s shock-mount leaves a bit to be desired. While it does a wonderful job of isolating the mic from vibrations, it’s quite the pain to put on/take off—the same complaint I’ve had about the 4033, 4047, 4050 and other A-T mics with a similar body style. Users who keep the mic at their studio can simply leave it in the shock-mount, but I lug my mics from studio to studio so I have to deal with this every day.

RECAP
The 4080 is a marvelous microphone that is easily adaptable to a wide variety of situations. Users in the market for a ribbon microphone or anyone simply wanting to expand their sonic palette should give the AT4080 top consideration.


Russ Long is a Nashville-based engineer who’s worked with Wilco, Allison Moorer and Dolly Parton, among others.

Click on the Product Summary box to view the AT4080 product page.

Click on the Product Summary box to view the AT4080 product page.






Acceptable Use Policy
blog comments powered by Disqus

Mix Books

Modern Recording and Mixing

This 2-DVD set will show you how the best in the music industry set up a studio to make world-class records. Regardless of what gear you are using, the information you'll find here will allow you to take advantage of decades of expert knowledge. Order now $39.95

Mastering Cubase 4

Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95

Newsletters

MixLine

Delivered straight to your inbox every other week, MixLine takes you straight into the studio, with new product announcements, industry news, upcoming events, recent recording/post projects and much more. Click here to read the latest edition; sign up here.

MixLine Live

Delivered straight to your inbox every other week, MixLine Live takes you on the road with today's hottest tours, new sound reinforcement professional products, recent installs, industry news and much more. Click here to read the latest edition; sign up here.

[an error occurred while processing this directive]

The Wire, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the The Wire for the latest press postings.