Common Audio Technica Mistakes to Avoid

Audio-Technica makes genuinely capable microphones, but a poor recording from a good microphone is still a poor recording. Most of the mistakes people make with Audio-Technica gear — particularly the popular AT2020 and AT2035 — are not about the microphone at all. They are about the environment, the positioning, the gain staging or the supporting gear. Here are the errors that come up most reliably, and how to fix each one.

Buying the USB Version When You Should Buy XLR

The AT2020USB+ is a convenient product — it plugs straight into a computer without needing an audio interface, which makes it attractive to first-time buyers. But the convenience has a cost: the USB version cannot be used with an audio interface later, cannot accept an external preamp, and cannot be part of a multi-microphone setup without significant workarounds. Buyers who think they will "upgrade later" often find the USB microphone becomes a dead end rather than a starting point.

The fix: if you have any intention of developing a proper recording setup — even a simple one-input interface — buy the standard XLR version from the start. Pair it with a basic interface and you have a setup that can grow with you.

Positioning the Microphone Incorrectly

Condenser microphones like the AT2020 and AT2035 are sensitive — which is their advantage and their trap. Positioned poorly, they pick up exactly what you do not want: keyboard noise, air conditioning, the low hum of a computer, reflections from a hard wall. Many first-time users position the microphone too far away, which increases room sound; or directly on-axis at very close range, which exaggerates plosive sounds and the proximity effect — a low-frequency bass boost that occurs when a cardioid mic is used very close to a source.

The fix: 15–25 cm from the source for vocals, angled slightly off-axis (toward the source but not aimed directly at the mouth). Position yourself so that hard reflective surfaces are behind you, not to the side. A pop filter reduces plosives further.

Recording in an Acoustically Untreated Room

The most common reason a home recording sounds "bedroom-y" — that faint echo and boxiness — is not the microphone; it is the room. Audio-Technica condensers capture whatever is in front of them with considerable fidelity, and a hard-walled, undamped room sounds exactly like a hard-walled, undamped room on the recording. No amount of post-processing fully recovers a clean signal from a poor acoustic.

The fix: position yourself near soft furnishings (a wardrobe of clothes is surprisingly effective), hang a heavy curtain or duvet behind the microphone stand, or invest in a reflection filter — a curved foam screen that mounts behind the microphone and reduces early reflections. Acoustic treatment does not need to be expensive to make a meaningful difference.

Setting the Gain Too High

With the gain on an audio interface turned up too far, an Audio-Technica condenser will clip — the signal distorts because it exceeds what the analogue-to-digital converter can handle. The clipping LED on most interfaces is an accurate warning, but many beginners ignore it or never notice it. Clipping distortion is irreversible; once a recording clips, the damage cannot be undone in editing.

The fix: set the gain so that peaks reach roughly −12 to −6 dBFS on the interface's signal meter during typical recording, leaving enough headroom for unexpectedly loud moments. AT2020 and AT2035 are sensitive enough that you rarely need the gain above 50–60% for vocal work with a modern interface.

Not Enabling Phantom Power

The AT2020 and AT2035 require 48V phantom power to operate. Without it, they produce either no signal at all or a very faint, unusable one. The phantom power switch on most interfaces is marked 48V; some older or cheaper interfaces have a global phantom power switch rather than per-channel. It is a simple check, but it is the source of a surprising amount of confusion among new users who believe their microphone is faulty.

The fix: always check that the 48V or phantom power switch is enabled before troubleshooting anything else. Also ensure that the XLR cable is a balanced cable (three-pin) rather than an unbalanced instrument cable, which cannot carry phantom power correctly.

Neglecting the Switchable Pad and Filter on the AT2035

The AT2035 includes two switches — a 10 dB pad and an 80 Hz high-pass filter — that the AT2020 lacks. Many buyers use the AT2035 exactly as they would the AT2020, never touching either switch. The pad is useful when recording loud sources (a guitar amplifier, a kick drum, a brass instrument) where the signal would otherwise overload the microphone's capsule before even reaching the interface gain. The filter is useful in any situation where low-frequency rumble — HVAC noise, traffic, footsteps on the floor — is present.

The fix: for loud sources, engage the −10 dB pad. For recording in any environment with background hum or vibration, try the 80 Hz filter — it cuts nothing above that frequency but removes the rumble cleanly.

Using an Inadequate or Faulty Cable

A low-quality XLR cable can introduce noise, hum or intermittent crackling into a recording that is otherwise properly set up. Many beginners inherit a cable or buy the cheapest available, and then spend time troubleshooting what they assume is an interface or microphone fault. A broken solder joint in the cable produces crackling that can be mistaken for a faulty preamp; a damaged shield causes hum that looks like a ground loop.

The fix: use a quality, balanced XLR cable from a reputable manufacturer. It does not need to be expensive — a well-made cable at a reasonable price is perfectly adequate. Test the cable by swapping it if you encounter unexplained noise.

Once these basics are sorted, most recordings improve dramatically. For more on choosing the right Audio-Technica microphone, the complete buyer's guide is the logical next read. If you are still deciding which model to start with, the best Audio-Technicas for the money round-up may help. And our brand overview puts the full catalogue in context.

The Bottom Line

Audio-Technica microphones are capable enough that most recording problems are environmental or operational rather than the microphone's fault. Get the phantom power on, position it correctly, treat the room as best you can, set the gain sensibly, and use a decent cable — and the AT2020 or AT2035 will reward you with recordings that are clean, detailed and a solid foundation to build on.

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