All user reviews for the Audio-Technica AE3000

Here we are in front of a very particular by its static / forms / dimensions. Low sensitivity but it is his strong point.

For me it is clearly not a microphone for lead vocals and acoustic guitar. That does not mean it is a bad pickups. But the characteristics of the microphone as predestined to use as a secondary micro and especially rhythm part.

OVERALL OPINION

I have a recording studio not too bad and turns in my drum recordings I always had a problem for Toms sections.
I must admit to being rather static and dynamic for toms.
I tried the Neumann but the sensitivity to some directory was too high limit, MD421 are great but are not always visually impressive super nice to place and not always homogeneous sound with some battery invoice.
In short I dreamed of a micro Tom visually unobtrusive with low sensitivity but with a static response. If we remove the Josephson e22s nothing really made me dream. And then I come across a comment from a renowned engineer who work a lot with AE3000 (without specifying the source) after looking at the features and functions I have ordered 2 to see and hear on Toms.

Once again I was left quite impressed, especially considering the price. Really it holds well the comparison. But rather than give you a positive result and not constructive notice here are the few problems identified.

- May not be suitable for the lead vocals as it is very quiet with little increase of presence. Backing vocals, and why not ...
- By experience it will be a little légé for copper section. (Not tested)
- The off-axis although not ugly, or even nice, gives a lot of the phase problem uring a multi-microphone as the battery capture. This has in particular the size of the capsule.

Advantages

-The Relative neutrality allows not load a mix with secondary elements. Used to its sound it will help you work faster.
-No Fault too nervous or aggressive spectrum. The transient response is a stiff nothing (not hard) but not more than a SM81 or KSM ... and say with still some class ...
-its Lack of little thickness become an asset on secondary rhythm parts.

IF this is your first mic it will be a great buy, but for me it is a micro shade. He who does his work, which is almost unavoidable but occurs only on secondary parties.

I will obviously Board for toms with a rubber support (not live by against). Can be nice on the Folk Violin in a rather perpendicular axis (unlike usual). To an AC Flute may be too.

Micro static capacitor with low-cut and-10dB pad for sound recording and sound
Supports large sound pressure
recommended for drums / percussion / guitar amp

OVERALL OPINION

I use it for one month
it supports really big levels, I use it for application type sm57:
guitar amp (clear and precise), percussion (genial!), overhead and near battery.
This is a great scene micro disposable, cheap, multiple applications, robust, quality alternative to the SM57.
I took two and I do it again this choice.

Small semi large diaphragm microphone,
158dB with cash he att, a 138dB dynamic, weighing 170 grams
filter-10dB in the bass and delivered with forceps reliable!
a lot of intelligence in the design (the ratio of sensitivity, max SPL, frequency response and output impedance), the result is impeccable, a real discovery, a new reference can be !!!!!!!!!!!! !!


OVERALL OPINION

I tried them on sensitive sources (alto sax, classical singing ...) the result is amazing for a microphone in this price range, the sound is full and rich without any real fault, the output impedance of 100 Ohms provides a smooth but this is a kind of super 414 ULS, very straight, with a dynamic stability Surprisingly, I compare it to live a "small" TLM 170 in cardio, one may be less obvious that music and the neumann, but 10 times cheaper !!!!!
a micro fabulous, I must take a box of 10!

Static Large-diaphragm, max SPL (156 dB with the pad!) Seems to intend at the outset of the transplanted amp or brass.
Ultimately his dynamic and musical qualities make this microphone a model that has versatility that will quickly find its place in any studio microphone like everything. All essential home studio that respects: its broad scope SAVINGS you may be buying multiple microphones DDIS.

The characteristics are trs well think: spl max pad (10db) sectional bottom (80 hz) impdence 100 ohm ...

OVERALL OPINION

First prcisons I am not a sound engineer for "just" a musician (mainly guitar) but, say, with a experience in the studio I think significant that allows me to give my opinion of the depths my home studio Breton. I also specific on all his feelings are trademarks of subjectivity and bass are not on technical knowledge of the theory of microphones that I did not fawn all.

It's been a week since I tested the length and breadth (membrane hihi), through a Soundcraft (pramplis Class A) and an M-Audio interface.
I have many presents in my ears sounds Rode NT1, 2 and 5, the E609, the SM57 (of course), Studio Project C3etc ... etc ...
Difficult to compare what is not always but here's my feeling:

- Voice: a is not my Speciality but I got a full and sweet. That's less than brilliant Rode with less presence but also less plosives and sibilants ... so it's perfect for me: much easier process. I place voice into 10 minutes l o I must three hours with NT2A. In rsum: very good but not his specialty.

- Acoustic guitar: same feeling, although this time making a more presents. Cons by the lack of sensitivity of the microphone and made a little felt was less than with dtails SM81 for example. Shoeps not talking about, I was fortunate to have my guitar rcemment before (couple "ORTF"), because the one is more in the same realm " I find the r RESULT very good, precise all the same, but lacking in "grain", not making small default of the guitar which prcisment his personality. On the other side once again we are left with a signal very easy to deal with immediate results. In rsum: very good, even perfect, for models in the studio but I would prfrerais a SM81 placed well or better a couple "ORTF" with good "cigar".

- Bass: always the same result "IMMEDIATELY" but the lack of micro ball for a low brightness but also the necessary precision. It is very easy to mix but not a bass sound. In rsum: not suitable in my opinion.

- Guitar amplifier: I saved the best for last Fantastic. The acute so difficult to place guitars delicately become saturated, the medium is full and soft, low-medium is rich and smooth the low-cut is ideal site (80Hz) to avoid the draft of serious. the mic makes perfect grain of my all-tube. The crunch sounds are clear and classy, ​​the solos in "shred" of all beauty! Small BMOL: I prefer the grain more "dirty" studio project for everything 70's riff into overdrive (ac-dc / led zep, jeff beck, etc. ...). but overall I found the quality of the good old 609 with the lower medium as a bonus, and I bump the gum the SM57 in the top med, much appreciated for its presence, but I found even when a bit "hard". the AE3000 to the HP, the Rode 45 cm is heaven! In rsum: If your guitar and you did not test this micro there is still time will repair the breach

Conclusion: A great microphone for guitarists, a Swiss army knife for home-studio owners very "confortabilisant" in the mix, but not a personality or a lightning "machine screw" (albeit with a real test prampli ) an investment that worth (and cluck!) and treadlife.
Too bad we have not allowed a pretty box with ...

Depending price into nine I put 10 for amp guitar and 7/8 everything else.
As this micro saves me precious time to mix and offered his classy my guitar amp he deserves his good 9!