Their recommendation warrants at least a look/see(hear) in my book. I referrals from Audio Technica and hasten to order a couple new, today, an acoustic guitar, the drum OH, cello at the resumption of guitar amp, I love them! Guitar amps sounded even and true, and drum room sounds were surprisingly useable – though I was often adding a dash of bottom-end and backing off some tops with analogue EQ to get things where I wanted them. ', Audio Technica AT4080 vs AEA R84 Figure Of Eight Ribbon Mics, Already have an account? While it doesn’t give you the thick beefy bottom-end that many ‘vintage’ brands offer, it excels as an all-round studio tool, particularly for close miking and out to about three metres from the source. To get the most out of this mic you really need a relatively low-impedance (sub 1000Ω) mic preamp, but if you’ve got one in your kit and want a ribbon mic that isn’t restricted to ‘character’ roles, get on the AT4081 train – it’s definitely an interesting journey worth taking. Audio-Technica AT4081 Bidirectional Active Ribbon Microphone. Click here to login, The ability to reply to and create new discussions, Access to members-only giveaways & competitions, Interact with VIP industry experts in our guest Q&As, Access to members-only sub forum discussions, Get INSTANT ACCESS to the world's best private pro audio, Promote your eBay auctions and Reverb.com listings for free. But of course it’s how the mic sounds that’s most important, and judging by my current recording interest – which mainly involves tracking quiet acoustic instruments in their ambient surrounds – it’s great. Soon after, ribbon mics became the cool new thing among many … In this video review for Pro Tools Expert, Technical Editor James Ivey reviews the Audio Technica 4080 and 4081 ribbon microphones. Audio-Technica developed a unique ribbon design that allows the 4081 to be stored … These instruments – ukulele, hand drums, and soft vocals – are notoriously low in volume, but also require medium distance miking techniques – possibly the worst combination for a ribbon mic. While recording a four-piece Russian folk band – I kid you not – I took a punt and put the Audio-Technica up close to the front of the piano accordion so that it caught the bass and treble registers of the instrument evenly. At 155mm long and 21mm in diameter, it’s a smallish bipolar ‘stick’ style side-address design – kind of like a Royer 121 on a diet and without the Prince Charles ears. But then a little more time passed and I changed my tune. First up were percussion instruments: hand drums, a red Indian tom tom, shakers, bells and tambourines. This somewhat alarming result changed quickly for the better, however, once I switched my trusty UA 6176 mic preamp from its 2kΩ impedance setting to a much lower 500Ω setting. silver and sporting an ultra-fine mesh that affords you a bird’s eye view of the inner workings of the transducer. It’s a well-built and hefty little number, finished in brushed Back when Royer Labs first built the Royer 122, it was the FIRST EVER ribbon mic with active electronics. This site is protected by reCAPTCHA and the Google
You need an account to post a reply. Perhaps out in front of the kick even, where I usually would use a condenser. At 155mm long and 21mm in diameter, it’s a smallish bipolar ‘stick’ style side-address design – kind of like a Royer 121 on a diet and without the Prince Charles ears. The latest manufacturer to add its voice to this creamy chorus is industry heavyweight Audio-Technica, and perhaps more so than any other company, its new AT4081 ribbon [yet another indistinguishable name from the king of indistinguishable names] genuinely offers a new take on an old formula. Terms of Service apply. I’ve got to say, at this point, I was fairly disappointed with the AT4081, and was contemplating seriously slamming it in the review. What was meant 'was' that the manufacturers better make the money(primary focus). Antelope Audio Edge Solo (LD) Antelope Audio Edge Duo (LD) Antelope Audio Verge (SD) Slate Digital ML1 (LD) Slate Digital ML2 (SD) … Audio Technica's first ever ribbon models, the AT4080 (far left) and the AT4081 (left), are both active designs, which means that 48V phantom power is required for operation. The Audio Technica 4080 and 4081 were introduced last year. The Audio-Technica AT4081 is an active dual ribbon microphone, meaning it requires phantom power. Well, if I had to choose a single word to describe the mic, it would have to be ‘bright’ – at least by comparison with every other ribbon I’ve used. It all started in the mid ’90s when I recorded my first record exclusively with a fantastic collection of ’50s ribbon mics: the Coles 4038 (the horse shoe), the 4101 (the Flemington) and the STC 4033 (potato masher). The 4081 easily smoked them all in front of an amp. Like its sister ribbon, the 4080 uses a dual-ribbon design featuring a “proprietary MicroLinear ribbon imprint” – they had to call it something I guess. This process is designed to increase the torsional strength and rigidity of the ribbon element, with the added bonus of significantly reducing distortion figures, which it clearly – no pun intended – does. 's in a shootout for anything from drum overheads to guitar amps onto whatever reasonable sound source you can think of. Audio Technica AT4081. The sound is very taught and punchy (a product of the ribbon’s lightning quick transient response) and the overall signature is one of – dare I say it – warmth. 's vs. In this video for Pro Tools Expert, Technical Editor James Ivey reviews the Audio Technica 4080 and 4081 ribbon microphones. A-T’s first ribbon offerings are two handmade, well-built, versatile, reliable, great sounding and well-priced products -- more than … So much so, that when I initially used the 4081, it didn’t sound like a ribbon at all. Pro Partners include Audio-Technica, Cakewalk, GML, JBL, Lexicon, Manley Labs, Millennia Music and Media Systems, Neumann, Prism Sound, Royer Labs, Sanken Microphones, Sonnox, TC Electronic, and Universal Audio. The AT4081 has a unique character. If not, guess what? Chris Ferguson: Before I begin I must make a disclosure: I love ribbon mics, and when I say ‘love them’ I really mean it. Inside the microphone things get far more interesting. Similarly, with a classical guitar, the restrained top-end allowed for the woodiness of the instrument to come through beautifully.