More quality microphones from Japanese company Audio-Technica. The AE5400 and the AT2020 are examples of why it ranks among the great microphone manufacturers. The Japanese company Audio-Technica began its journey in the world of sound in the mid-20th century by making phonograph components, specifically the three parts most important to good sound: the motor, the horn and the cartridge, the latter being the most important since it is responsible for making the first conversion from the record surface to sound by means of the stylus
With this experience it kept moving forward and jumped on the magnetic pickup trend, or, to put it more colloquially, the cartridge and stylus of turntables that transform vibration into electric current, a system very similar to that of a microphone, which is where its evolution continued. That is precisely the basis of microphone design, a true revolution in the following decades.
Thanks to the high quality of its products, the company expanded across Europe and, even more importantly, the United States, both very lucrative markets. Today Audio-Technica is a large multinational with representation all over the world. In Spain, that task falls to the company Lexon, which has recently taken it on.
A lot of time has passed since those beginnings, and since then the product catalog has expanded considerably; today it is one of the manufacturers with the widest variety of microphones, from gooseneck conference mics to boundary, handheld, headset, hanging, condenser, lavalier and wireless models, and a long etc. that covers any normal recording, broadcast or live need we can imagine.
Part of the Artist Elite series and geared toward live vocal sound, the AE5400 is a handheld vocal mic that sits at the top of the range thanks to its features, competing with models such as the Shure SM-86 or the AKG C 900. The AT2020, on the other hand, is aimed at studio applications and is likewise in the brand's mid-to-upper range in terms of features and price. Both are the result of the latest developments introduced to the market by the Japanese brand. The AE5400 was launched at the end of 2004, while the AT2020 has just been unveiled.
Same technology, different applications
Despite being designed for different uses, both microphones are based on the same condenser technology as their pickup mechanism. This points to manufacturers' growing tendency to emulate the performance of dynamic capsules with a condenser mechanism, which is considerably simpler and cheaper to make and makes it possible to achieve the performance of dynamic microphones at lower cost. This practice is common in the area where this goal is hardest to achieve, namely making microphones for pop and rock 'n' roll vocalists, although achieving it sometimes requires complex equalization circuitry like that found in both the 5400 and the 2020.
It's curious to note that if the mic didn't need phantom power, many engineers would have trouble telling them apart. Such is the current level of perfection. The clarity of a condenser mic in a live setting is perhaps not highly valued in Spain, although the difficulty of avoiding the dreaded feedback also plays a part. Perhaps this, along with the ability to handle extreme sound pressure, is the great challenge to be met in order to drastically lower the prices of many microphones enshrined over the years by many musicians and engineers. We all know that in this little world there seems to be a belief that if it's this or that brand it's good, and if not, better not to use it. But that's another story...
AE5400, Condenser/Cardioid
The body of the mic has two highly visible switches. One is a 10 dB pad in case it is exposed to high sound pressure levels (although it has a wide dynamic range: 133 dB SPL, and the maximum input signal reaches 147 dB SPL at 1% T.H.D.). The other switch is a high-pass filter that prevents unwanted mains hum and other low frequencies.
The power required for this mic can be between 11 and 52 volts DC, which gives it considerable versatility when connecting to any console on the market.
Finally, at the base of the mic body is the male XLR connector, which features gold-plated pins for better signal transmission and corrosion resistance.
On listening, the 5400 performs very well even with little gain. It's well known that the more gain you use, the more you amplify the background noise plus the ambient noise picked up, so it's best not to raise the input signal more than necessary and then make the most of the amplified signal. The polar pattern, that is, the mic's three-dimensional pickup capability, is cardioid, and testing it confirms that it follows it absolutely. With no noticeable proximity effect (more bass the closer it gets to the mouth), there is, however, a reduced response at the very top of the frequency spectrum.
With a weight of 330 g, an extraordinarily low noise level (14 dB), very modest dimensions (just under 180 mm) and competitive features, the 5400 is a good option when choosing the mic for your next live show.
AT2020, the other option in the studio
We jump from the live stage to the studio carpet, and once again we find the brand making a bid for a very competitive market. The AT2020 is aimed at users who demand a certain quality but also a tight price. The value for money of this mic certainly far exceeds that of similar models. Studio work requires good knowledge of the mic we are using as well as the room's acoustics. With a cardioid polar pattern that cannot be changed, the 2020 offers very good features at down-to-earth rather than astronomical prices.
With an elegant design and compact construction, it is a side-address microphone, ideal for instruments such as guitar, percussion or flute. The rear grille allows for the necessary pickup of the room's acoustics and warmth from behind.
It has a medium-size capsule (16 mm) and offers a surprising response up to 20 kHz. The 2020 also has internal circuitry that includes RF protection, and although it weighs 345 g, that doesn't seem like much considering how rugged its chassis feels.
It requires 48 V phantom power, which, unlike the 5400, can be a drawback, since some consoles or inexpensive external power supplies provide a lower voltage.
With a high input signal capacity (144 dB SPL at 1 kHz, 1% T.H.D.) and a dynamic range of 124 dB, it is pleasantly surprising when handling high pressure levels.
In the listening test, as with the previous model, you don't need much gain to get a good signal level, which always benefits the quality of the final product. Its sensitivity in capturing even the smallest details is something that, if we're not used to it, can even be startling.
Given its polar pattern, you have to be careful with rear reflections, since, given this mic's extreme sensitivity, it might seem as though it had a dual capsule instead of a side-address one. Remember that it has to reject unwanted signals coming from rear reflections, so it's advisable to use the 2020 relatively close to the sound source to make the most of its characteristics.
Although its bass response isn't as good as the 5400's (its focus isn't the same), in the highs it gives us unbeatable clarity. Below 200 Hz the signal is slightly rolled off, which can result in an absence of proximity effect. Although this effect is sometimes desirable, the truth is that for female vocals and string instruments it sounds very linear and pleasant.
As for accessories, this mic includes a threaded swivel stand mount that makes placement precise and convenient when we need to position it correctly in front of an instrument in the studio. A carrying pouch is also included.
Additional details
Both the 5400 and the 2020 come packaged with operating instructions and technical specifications in Spanish, although they are a bit sparse and one rather misses a more explanatory approach in them.
In any case, a good reference is the manufacturer's website, where we can always stop by to find more information to complement our search. In this regard, Audio-Technica offers an attractive and well-made website where, if we look around a little, we can find guides to learn more about microphones, what they are like, how they are used or the best way to choose a microphone, including wireless systems, whose operation is perhaps less well known due to their electronic nature.
It would also be welcome if at least the AE5400 came with a hard carrying case, since it is presumably going to be used on tours where it will surely take knocks from constant transport.
Conclusion
In the opinion of the author of this article, the AE5400 performs well, although it is somewhat expensive compared to the dynamic mics favored on stage. If condenser mics don't become more competitively priced, they may make few inroads into the live world. The AT2020, on the other hand, strikes us as a good choice if our budget is limited and we want fidelity in the studio.
To see the spec sheet and rating table, download the magazine in PDF
