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Audio-Technica AT4050ST Stereo Condenser Microphone  

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The side-address Audio-Technica AT4050ST Stereo Condenser Microphone is externally polarized (DC bias). Its independent cardioid and figure-eight ele...Read More

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OVERVIEW

Studio condenser mic engineered for professional recording, broadcast, and sound reinforcement.

The side-address Audio-Technica AT4050ST Stereo Condenser Microphone is externally polarized (DC bias). Its independent cardioid and figure-eight elements are configured in a mid-side arrangement with switch-selectable internal matrixing.

Select from either a left-right stereo output (wide 127° or narrow 90°) via the microphone's internal matrixing system, or choose discrete mid-side signals for later manipulation. The Audio-Technica 4050ST mic is designed to meet the most critical acoustic requirements of professional recording, broadcast and sound reinforcement.

The AT4050ST microphone includes a 5.0m (16.5') dual output cable terminating in a 5-pin XLRF-type to 2 standard 3-pin XLRM-type connectors. The microphone output is a 5-pin XLRM-type connector. The AT4050ST microphone is equipped with a switchable 10 dB pad and a switch selects flat response or low-frequency roll-off (via integral 80Hz high-pass filter).

Audio-Technica encloses the AT4050 microphone in a rugged housing. The included AT8449 shock mount provides superior isolation and permits mounting on any microphone stand with 5/8"-27 threads. A dust cover and a protective carrying case are also included.

Operation and Maintenance
The AT4050ST requires 48V phantom power on pins 2 and 3 of both XLR3M-type connectors for operation. Wiring must be balanced throughout, and all mic cables in the system must be wired consistently: pin 1-to-pin 1, etc. If connecting to unbalanced inputs, good-quality balanced line transformers must be used.

Mid-Side Operation: In M-S mode, the microphone provides independent Mid and Side signals. This allows the width of the stereo image to be adjusted in post production or in the field with a matrix mixer.

Matrixed Stereo: The microphone offers two internally matrixed modes which provide traditional "left-right" stereo without the need for external mixers. To accommodate varying acoustic environments, the user may select between a wide pattern (127°) with increased ambient pickup, and a narrow pattern (90°) which offers more rejection and less ambience. Output phase is "Pin 2 hot."

For correct left-right stereo orientation, position the microphone so the raised Audio-Technica emblem is facing the sound source. In the internally matrixed modes, locating the microphone nearer the sound source enhances the apparent width of the stereo image, while decreasing room ambience. Moving away from the sound source will result in a narrower stereo image and more room sound.

FEATURES
  • Innovative side-address Mid-Side stereo microphone engineered for professional recording, broadcast and sound reinforcement
  • Independent cardioid and figure-of-eight condenser elements
  • Switch selection of Mid-Side mode and two internally matrixed stereo modes
  • Dual-diaphragm capsules maintain precise polar pattern definition across the full frequency range of the microphone
  • Transformerless circuitry virtually eliminates low-frequency distortion and provides superior correlation of high-speed transients
  • The 2-micron-thick, vapor-deposited gold diaphragms undergo a five-step aging process so that the optimum characteristics remain constant over years of use
  • Open acoustical environment of the symmetrical housing assembly minimizes unwanted internal reflections
  • Integral 80Hz high-pass filter switch and 10dB pad switch
  • State-of-the-art design and manufacturing techniques ensure compliance with A-T's stringent consistency and reliability standards
  • Custom shock mount provides superior isolation
  • Certified by the METAlliance (Music Engineering and Technology Alliance)

Order this state-of-the-art microphone today!

SPECIFICATIONS

AT4050ST Stereo Condenser Microphone

  • Low Frequency Roll-Off: 80Hz, 12dB/octave
  • Open Circuit Sensitivity: Stereo 90°: -42dB (7.9 mV)dB re 1V at 1 Pa; Stereo 127°: -41dB (8.9 mV) dB re 1V at 1 Pa; Mid: -36dB (15.8 mV) dB re 1V at 1 Pa; Side: -36 dB (15.8 mV) dB re 1V at 1 Pa
  • Impedance: 50 ohms
  • Maximum Input Sound Level: Mid and Side: 149dB SPL, 1kHz at 1% THDNoise: 14dB
  • Noise Stereo 90°: 25dB SPL, Stereo 127°: 16 dB SPL; Mid: 15dB SPL: Side: 17dB SPL
  • Dynamic Range (Typical): Mid: 134 dB, 1kHz at Max SPL, Side: 132dB, 1kHz at Max SPL
  • Signal-To-Noise Ratio: Stereo 90°: 69dB, 1kHz at 1 Pa, Stereo 127deg;: 78dB, 1kHz at 1 Pa, Mid: 79dB, 1kHz at 1 Pa; Side: 77dB, 1kHz at 1 Pa
  • Phantom Power Requirements: 48V DC, 6.4 mA typical (both channels total)
  • Switches: 90°, 127°, M-S; Flat, roll-off; 10dB pad (nominal)
  • Weight: 517g (18.2oz)
  • Dimensions: 193.0mm (7.60") long,, 53.4mm (2.10") maximum body diameter
  • Output Connector: Integral 5-pin XLRM-type
  • Audi-Technica Case Style: R1
  • Cable: 5.0m (16.5') long, 8-conductor, shielded, vinyl-jacketed stereo cable with 5-pin XLRF-type connector at microphone end and two 3-pin XLRM-type connectors at output end
Reviews
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Review Snapshot®

by PowerReviews
Audio-TechnicaAT4050ST Stereo Condenser Microphone
 
5.0

(based on 1 review)

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Reviewed by 1 customer

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5.0

Holy grail found!

Comments about Audio-Technica AT4050ST Stereo Condenser Microphone:

Absolutely the most flexible, accurate and transparent mic you will ever find. Couple that together with 3 stereo patterns and 2 mono patterns and you have a complete arsenal of mics in one. My only complaint is the price. You can buy 2 at4050's for the price but I got a great deal on this so I jumped on the chance. If you buy 2 mics you can get the same configurations but with some serious work in positioning. I put this mic in front of a boys choir, a string quartet and a round table discussion and the stereo image and transparency were astounding. I played the video clips for people without prepping them for the sound and the first thing they said was it "sounds like I'm there."I put it about 3 feet above the front of my drummer's kit and it was far better than listening to the actual set. The closer you are to the source the more pronounced the stereo effect.The M/S setting worked like a charm at a roundtable discussion. I pointed the front capsule at the main speaker and everyone else around the table was picked up by the figure 8 capsule.I was considering shure ksm44's but we had such good results from my band mate's at4037 that I took the chance on this mic and will NEVER be without it.

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