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audiokid 1 November 2012

wow, AT5040. This mic looks real nice!
List is $2999

I want.

Check out the video on the website.

Four-part rectangular element

The first of our design criteria for the AT5040 was purity of sound. To achieve this, Audio-Technica engineers developed a four-part rectangular element, the pinnacle of our recent breakthroughs in sound-capture technology. Four exquisitely matched ultra-thin diaphragms function together (with outputs proprietarily summed) as Audio-Technica 's largest-ever element, providing combined surface area twice that of a standard one-inch circular diaphragm.

By using four diaphragms in a single capsule, the AT5040 delivers the benefits of an exceptionally large diaphragm — along with an extremely low noise floor — without increased weight, decreased transient response or other drawbacks that typically restrict diaphragm size.

Another key AT5040 design feature is advanced internal shock mounting that effectively decouples the capsule from the microphone body. For additional isolation, each AT5040 is also provided with Audio-Technica 's innovative new AT8480 shock mount.
100% quality control

Every AT5040 is hand assembled and individually inspected for 100% quality control. Each microphone is enclosed in an elegant housing of aluminum and brass with high-quality gray finish for durability and low reflectivity. Discrete components have been selected for optimized capsule performance; in fact, every aspect of the microphone has been carefully considered to minimize any effects on the audio signal.
Pure innovation

As much as we admire the great microphones of the world, this new 50 Series cardioid condenser is pure innovation, not emulation. Wherever your passion for music takes you, listen for the purity, presence, depth and detail of Audio-Technica 's AT5040, our new standard in studio condenser microphones.

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Comments

anonymous Mon, 03/31/2014 - 06:27

I have two 414's, the aforementioned EB model that I bought in 1980, and a "newer" TLII... It's a bit of an intangible with the two models, tough to describe... I think - at least on my voice - that the EB is a bit warmer and silkier on the top end than the TL is... and maybe it's not at all, maybe it's just a placebic thing, in that I've cut so many vocal tracks with the EB over the years that it's just become my go-to mic out of habit. ;)

Aisle 6 Mon, 03/31/2014 - 15:03

Both of my 414's are old and the TLII is not a new one, late 80's I believe. It falls into a weird category as it is a TLII but also a B ULS. I believe that these were only available for a very short time as they are not mentioned in many of the AKG historical documents. Someone may want to asset with clearing that up for me as there really is little information available on that model.

audiokid Mon, 03/31/2014 - 17:26

Aisle 6, post: 413108, member: 41160 wrote: I hear you brother, but I would still check this out even if a ribbon is on the agenda. The 5040 is not like most condensers and kinda sits out there on it's own in some ways. It's best asset is how it is open in the top end but does not sound bright or hyped, simply open. Same as a ribbon in that regard, just smooth. Actually now that I think about it, the low end is fat like a ribbon as well. I have a few ribbons vintage RCA, Royer, Beyer Dynamic and Reslo. The Beyer M160 is my favourite.

Nice selection there yourself. I must get out my 414EB again as I tend to grab my 414UB ULS/TLII over it mostly, for mo real reason. : P

I guess it depends on what you are trying to achieve. I see the 5040 as a vocals and acoustic guitar mic mainly, not that it would not suit other tasks. Whereas, I am always reaching for the M160 for electric guitars and the RCA for a close room mic about 6' in front of the kit and down low.

Oh Man, now you had to chime in too :)

I had an M 149, and loved the texture, but traded it for a Bricasti. I miss it big time but it was a hot mic.
I'm considering this mic. Some describe it as having a very hot signal, that is could use a pad, what was your initial experience with that?

Aisle 6 Mon, 03/31/2014 - 20:42

I did not have any issue with the signal hitting the pre too hot. It definitely seems to be a little hotter on the mic output than others, but then again, so is my U67 or other tube mics with power supplies. Not really too different to any of those really. I have only used it on vocals at the moment and have not required a pad. Running into either a Wunder PEQ-2 or an Aurora Audio GTQ2-MKIII, both 1073ish pre's.

The bottom line with this mic is that it is higher priced than we are used to for an AT mic, but that it is much cheaper than anything comparable to it as well. You really do have to hear it.

My first trial of this mic was on a vocal where I was given the tracks already recorded by someone else and I was recording the vocalist. The song was pitched a little high for the vocalist as the big parts were right at the top of his range. Usually in this situation I find the vocalist has a quite stressed or strident tone to their voice. While using the AT5040, the vocal never sounded thin even when pushed at the top of the singers register. It always maintained a nice warm and full tone. That alone sold it for me. : )

Aisle 6 Tue, 04/01/2014 - 02:25

That track is a great example as it sounds to me that they have lifted the highs a bit, so you kind of need to imagine a modern condenser with the highs lifted a bit and ask yourself, post compression, with the off axis delivery that she is sometimes giving, would the consonants and sibilance be as smooth and understated as that. Particularly when you consider how close she is on the mic as well. Yet the proximity effect sounds very understated.

Did I mention that I would buy the shock mount on it's own. It is a piece of engineering genius.

audiokid Tue, 04/01/2014 - 02:38

Spot on.
In this example, I'd much rather heard the 5040 with less verb, I found it distracting and the sss were a tad accentuated from whatever was going on there. Or do you think this was an accurate reflection from the room? It was a bit to much for me but, I noticed how smooth the upper end is on this. The track sounded very even. It captured her octave falsetto jumps beautifully eh. The proximity didn't sweep at all. Good singer and technique didn't hurt :)
Beautiful looking mic too. AT should be selling that shock on its own. Amazing design all round. I want one.

Aisle 6 Tue, 04/01/2014 - 02:49

I think that they definitely had a high end lift going on, maybe that 1073 3.2k or 4.8 with a little 10k shelf as well, as it is not quite that sibilant. Not that it was too much mind you. Did you notice the singer turning her head away from the mic while singing, yet the sound stayed very accurate and did not thin at all when singing across the capsule. I love the way the bottom end sounds full but not bloomy or muddy. Just really well balanced. Can you tell I am a fan. : P

audiokid Tue, 04/01/2014 - 10:37

thatjeffguy, post: 413203, member: 38103 wrote: Donny, if you're in the market for a truly exceptional ribbon mic, check out the Samar MF65. Freq. response 20 Hz to 25kHz! I own a pair of these and am impressed every time I use them!

http://www.samaraudiodesign.com/SamarMF65Overview.html

Sorry to interrupt this thread just wanted to give Donny a tip!

Jeff

Oooo you bought these, Jeff! nice. post something sometime, I'd love the hear a clip.

anonymous Tue, 04/01/2014 - 12:58

and a great tip it is. ;)

I'm not sure I'd be able to afford them... they sure are pretty though. I'd also have to get the Blumlein attachment, it seems it would be a curse not to, ya know? LOL

And, seriously, I do quite a bit of Blumlein and MS miking. I'm currently using a 414 and a Neumann U89i for the Blumlein pair...( I know there are engineers here who would take exception to me using two different types of mics for that application, and I do have another 414, but to my ears the mixed pair works well) it'd be awesome to experiment with two ribbons of that caliber on the same array.

If I can do it, I won't be ready to pull the trigger on that until probably mid summer, there are some other pressing expenditures I have to take care of first, but I'm also starting a month long recording project in June with a solo artist (who has already put down a deposit on the time so I know they are serious) and the revenue from that project could help expedite that purchase a bit. Thanks for the suggestion, Jeff.

Aisle 6 Fri, 07/25/2014 - 02:08

audiokid, post: 417651, member: 1 wrote: Looks like they are using the AT 5040 for Steve Higgins on Jimmy Fallon Tonight Show. It sounds pretty even.

I am still in love with this mic and am using it regularly. Mainly into my Wunder PEQ1 Tube Tech CL2a then API5500 EQ. I am also using other combos as well. This mic is amazing. It always seems to sit effortlessly in the mix.

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