Audio Technica roundup
Audio Technica: A Complete Buyer's Guide
Audio-Technica makes excellent microphones at every price point — but only if you choose the right one for your application. This guide cuts through the catalogue and points you to the right model.
Buying an Audio-Technica microphone is straightforward once you understand what the catalogue actually contains and which specifications matter for your intended use. The brand offers everything from a £90 USB condenser to professional large-diaphragm models used in broadcast studios — and the differences between price tiers are real and meaningful. This guide helps you identify which model fits your situation.
Start with the Application: What Will You Record?
The most important question before looking at any specific model is what you will actually be recording. The catalogue covers different needs well, but a microphone optimised for broadcast voice-over behaves differently from one designed for close-miking a guitar cabinet. The main applications and corresponding model families:
- Home recording vocals, acoustic instruments, podcasting — AT20 series (AT2020, AT2035) or the AT40 series for more critical use
- Professional studio recording — AT4040, AT4050, AT4060a (tube)
- Live vocal performance — ATM510 (dynamic), ATM710 (condenser)
- Broadcast and voice-over — BP40, or the AT2035 for quieter environments
- Instrument close-miking on stage — ATM650, ATM23HE (clip-on for instruments)
Condenser vs Dynamic: Which Should You Buy?
Audio-Technica makes both condenser and dynamic microphones, and the choice between them is fundamental — it affects everything else about how you set up and use the instrument.
Condenser microphones (AT2020, AT2035, AT4040, AT4050, AT4060a) are more sensitive and detailed — they pick up more nuance, more room sound and more background noise. They require phantom power (48V DC supplied by an audio interface or mixer). They suit home studios with reasonable acoustic treatment, and any application where detail and openness matter: vocals, acoustic guitar, voice-over.
Dynamic microphones (ATM510, ATM650, BP40) are less sensitive and more forgiving of imperfect acoustics. They do not require phantom power and are more physically robust. They suit live performance and louder sources (close-miked guitar cabs, drums) where the extra sensitivity of a condenser becomes a liability.
For most home recording applications, a condenser is the better starting point. For live use, a dynamic is almost always the more practical choice.
Choosing Within the Condenser Range
Once you have settled on a condenser, the next decision is which tier suits your needs.
| Model | Self-Noise | Pad/Filter | Patterns | Key Use |
|---|---|---|---|---|
| AT2020 | 20 dB | No | Cardioid only | Entry home recording |
| AT2035 | 12 dB | −10 dB / 80 Hz HPF | Cardioid only | Versatile home/semi-pro |
| AT4040 | 12 dB | −10 dB / 80 Hz HPF | Cardioid only | Professional studio |
| AT4050 | 17 dB | −10 dB / 80 Hz HPF | Cardioid / Omni / Fig-8 | Versatile pro studio |
| AT4060a | 17 dB | −10 dB / 80 Hz HPF | Cardioid only | Tube character recording |
Self-noise — the electrical noise the microphone generates on its own — matters most when recording very quiet sources (classical instruments, soft vocals, acoustic guitar played gently). A self-noise of 12 dB is excellent; 20 dB is acceptable for most purposes.
Do You Need an Audio Interface?
Most Audio-Technica microphones use XLR connections and require an audio interface or mixer to connect to a computer. If you do not already have one, budget for this alongside the microphone. An entry-level interface (Focusrite Scarlett Solo, Universal Audio Volt 1, Audient EVO 4) costs between £80 and £150 and provides phantom power, a preamp and analogue-to-digital conversion.
The exception is the AT2020USB+ and AT2020USB-X, which connect directly via USB and include a built-in headphone output for zero-latency monitoring. These are convenient for podcasters and voice-over artists who do not want to manage an interface, though they offer slightly less flexibility than the XLR version.
Accessories Worth Considering
A bare microphone performs well only when mounted and used correctly. A few additions make a real difference:
- Shockmount — isolates the microphone from vibrations transmitted through the desk or stand. The AT40 series includes a shockmount; AT20 series models include a standard clip mount (shockmounts are available separately).
- Pop filter — a mesh screen positioned between the speaker and the microphone to reduce plosive sounds (the burst of air from hard 'P' and 'B' sounds). Essential for vocal recording; costs £10–£20.
- Microphone stand — a desktop boom arm or floor stand. A boom arm that clamps to a desk is most convenient for home recording setups.
- XLR cable — not always included; a quality cable eliminates one potential source of noise or interference. Balanced XLR is the standard for studio microphones.
If you want to compare which models give the most for your budget, our best Audio-Technicas for the money round-up breaks it down by tier. New to microphones? The beginner's guide covers the basics in plain terms. For a full explanation of the brand and its range, start with our Audio-Technica explained overview.
The Bottom Line
For most home recording applications, the AT2035 is the most well-rounded purchase in the Audio-Technica range — enough specification to grow with, enough affordability to buy alongside a decent interface, and a tonal character that suits vocals and acoustic sources well. Step up to the AT4040 if professional-grade self-noise and a more critical application justify the additional cost. For live use, the ATM510 dynamic is the sensible starting point.
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