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Audio-Technica 30 Series Microphones

As any audio engineer will tell you, the same is true of microphones. To get the most out of your home recordings, you should have at least two or three different mics on hand. The two basic categories are dynamic and condenser; while the former tends to be considerably less expensive, condenser mics are generally a better choice for most types of recording because they have superior transient response—that is, they react more quickly to the attack portions of sounds.

 

The Audio-Technica 30 Series consists of three affordable condenser mics—the AT3525, the AT3527 and the AT3528. The 3525, with it’s medium-sized diaphragm, looks kind of like a small barrel; the other two models are both standard, small size diaphragm “pencil” mics, making them unobtrusive and easy to use in tight spaces, such as drum kit miking. The 3525 and 3528 utilize unidirectional cardioid polar patterns, while the 3527 has an omnidirectional polar pattern. Each of the three has a slightly different frequency curve, the 3527 offering the flattest response and the 3528 providing a decided high-frequency boost. All three models have extremely low self-noise (a problem in some condensers) and are thus eminently suitable for use in even the most demanding recording environments. They all provide a switchable high-pass filter (for removing rumble and popping) and a -10dB pad, although you’ll rarely need to use this, since all three mics are capable of withstanding very high SPLs (Sound Pressure Levels) and consequently can be used to mic even very loud signals without overloading.

 

It’s worth noting that much of the technology incorporated in the 30 Series was originally developed for Audio-Technica’s flagship AT4050/CM5 model, a mic that cost more than all three 30 Series models combined. After spending several months using all four mics-and many others—to record a variety of instruments, I cam to the conclusion that, in specific applications, the 30 Series mics not only compare well to the 4050 but deliver performance equivalent to that of condenser mics costing four to five times as much. Impressive, indeed!

 

Like the guitars and basses hanging in your local music shop, each mic in the 30 Series excels at different things. The 3525 was the best of the three for vocals, the 3527 delivered  the most solid-sounding heavy lead guitar and the 3528 got the nod for reproducing the traditional bright, steel-string acoustic sound. On clean rhythm guitar, the 3528 and 3527 both gave good results, while the 3525 absolutely kicked butt as a bass amp mic.

 

Accurate reproduction of piano tone is an extremely tall order for a microphone, and truth be told, none of the 30 Series mics did a great job—the 4050 was unquestionably the star here. But, on drums, it’s anther story. The 3525, with its great low end, makes an excellent bass drum mic, while the 3528, with its crisp, clean high end, is a terrific hi-hat and overhead mic; it can even be used to mic toms, delivering a serviceable, if slightly thin signal. Add in the omnidirectional 3527 for capturing room sound, and you’ve got almost everything you need for most band recording situations.

By: Sarah Beers
Published: 07/24/08


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    1 Posted Comments:

    @ 4:47 pm 08/26/08 by R. Elizabeth C. Kitchen
    Very cool I'll have to check these out.
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