The Audio-Technica AT2020USB+ condenser microphone is a remarkable choice for those seeking an exceptional recording experience. With a focus on simplicity and quality, this microphone is tailored for singers, podcasters, and creators looking to elevate their audio game without a steep learning curve.
At the core of its features is the condenser microphone itself, renowned for its studio-grade performance. The AT2020USB+ connects to your device effortlessly via USB, eliminating the need for complex setups or additional audio interfaces. It’s a true plug-and-play solution that streamlines the recording process.
One of its standout features is the cardioid polar pattern, ensuring that your recordings capture the intended sound source while effectively reducing background noise. This makes it ideal for vocals, single instrument recordings, and podcasting. The cardioid pattern is especially useful when you need to isolate your voice from ambient sounds.
To add convenience to your recording experience, the AT2020USB+ comes equipped with a built-in headphone jack. Real-time monitoring allows you to hear your recordings as they happen, enabling you to make necessary adjustments on the fly. This feature is especially valuable when recording vocals or podcasts, as it helps you achieve the best results with minimal hassle.
The microphone itself is built to last, with excellent shock mounting and a reliable pivoting stand mount. This durability ensures that your investment in the AT2020USB+ will serve you well for years to come. It’s a testament to Audio-Technica’s commitment to delivering quality audio equipment.
In the realm of pros, the AT2020USB+ boasts exceptional sound quality. The microphone captures audio with remarkable clarity and warmth, making it a fantastic choice for vocals and podcasting. Its budget-friendly price tag further adds to its appeal, offering impressive value for its cost. Moreover, the microphone’s ease of use and real-time monitoring capabilities are noteworthy advantages for both beginners and experienced users.
As for the cons, the microphone’s cardioid pattern, while excellent for isolating sound sources, may not be the most versatile choice for users looking to record multiple voices or instruments simultaneously. Additionally, it’s important to note that the AT2020USB+ exclusively offers USB connectivity, which may not suit advanced setups requiring XLR connections.
In conclusion, the Audio-Technica AT2020USB+ condenser microphone is a reliable and cost-effective option for those who prioritize sound quality and user-friendly features. If you’re a singer, podcaster, or content creator in search of a microphone that offers exceptional performance without the complexities of high-end equipment, the AT2020USB+ is an excellent choice that won’t disappoint.
LHC –
Love the warmth and emotion of this mic. I frequently prefer it for vocals over my condensers because it has such character. Timeless and vintage sound. Mine is a little noisey so not ideal for quieter instruments. I record folk/soul/jazz/pop/blues.
C. Judd –
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Microphone Reviews are tricky because the usefulness of a review depends on whether or not you plan to use the mic for the same things the reviewer uses it. So to avoid that issue, my review is based on recording the following:
– Voice-over for both male and female voices that tend to have a bit of sibilance and are not especially dark or deep
– Violin and other acoustic higher register instruments such as mandolin that tend to sound harsh when recorded
For these two main groups, the Golden Age Project R1 Mark III Active Ribbon microphone performs really well, much better than equivalently priced large diaphragm condenser microphones. In fact, because these are the two main things I record, this is my go-to mic almost all of the time and my two other condenser mics and dynamic mics are seeing a lot less use.
Why? Two reasons:
– Bass response–this mic has a warm low end that flatters most voices and most of the higher register stringed instruments like violin. Additionally, you can back the mic away from the instrument a little bit more and still retain the low frequency capture, unlike most affordable large diaphragm condenser (LDC) mics which tend to lose low frequency response pretty quickly once they’re moved back from the source.
– High Frequency roll-off–This mic differs from almost all of the less than 500 USD LDC mics in that it does not seem to have a “presence peak”–that annoying “feature” of most affordable LDC mics where the higher frequencies get a pretty significant boost which often results in highlighting sibilance (that annoying “ssss” sound in some peoples’ voice) or making an instrument sound shrill.
Because the R1 Mark III is phantom powered (thus the “Active” in its name), it is easy to use with pretty much any pre-amp. This is a unique and welcome feature because ribbon mics typically require pretty beefy pre-amps with quite a lot of gain to work well.
stardust –
I was on a quest to find a microphone with less unpleasant sibilance than the CAD M179. Of the MXL 2003a, Shure SM58, the TZ Stellar X2, and the TZ Stellar X3, this GAP R1 MKIII came the closest to doing that, i.e. it differed the most from the others.
The very natural reproduction and neutral off-axis coloration of ribbon microphones gives them a unique and distinctive sound. Low end repsonse is so strong that you can get quiet far away from the microphone without the source sounding thin, and the extra room tone that the figure-8 pattern picks up is not at all weird or unpleasant like it can be with Figure-8 condeners.
However, the lack of a shock mount combine with the very good LF response makes this microphone difficult to use in an environment with with LF rumble, footsteps, etc. It will pick all of that up very clearly.
The thing that really prevented me from being able to use this microphone for my purposes is the noise.
For vocals, you have to be at least 8 inches away from the microphone to avoid plosives (to which it is extremely sensitive), but at this distance the amount of self-noise the microphone produces at reasonable source volumes is excessive to the degree that even running the signal through an expander/gate can’t produce an acceptable result. I could see it working for guitar cabinets, drum overheads, or very loudly-sung vocals, but not for anything intimate/quiet/accoustic.
Which is a shame because it does sound very natural.
I should also note that, regarding sibilance, if you use EQ to boost everything above 200Hz (which where this starts to roll off) 10-15dB, it will sound similar to a condenser in terms of brightness, and the sibilance will sound pretty much identical too, plus you’ll have boosted a lot of hiss from the built-in preamp. So unlike what many people say, I don’t think it’s a valid solution to sibilance problems, at least not unless you’re allergic to EQ. Conversely, you can make any of the condeners listed above sound very similar to this microphone by doing a 10-15dB cut off everything above 200Hz (but none of them will ever have quite the same amount of LF body).
The smoothness/naturalness of the reproduction of the ribbon can’t be replicated with EQ though.
In my case, I got better results by using the TZ Stellar X3 from 2-4 inches away, plus some EQ, than anything I could achieve with the GAP R1 MKIII. Regarding self-noise, there’s no comparison.
I might pick up the passive version of this microphone and see if that gives better results. But I still think it’s never going to cut it for vocals unless at opera-singer volumes.
Regarding the build quality: it’s worse than I expected. Body is painted rather than powder coated and the knurled knobs/swivel mechanism feels cheap, flimsy, imprecise.
MuddeeWaters –
The 1st reviewer made valid points which I agree with. I mostly use my MK3 for miking a Gretsch 5 watt guitar amp. This may sound like I’m “gushing” however, the sound through this mike to my recorder is “bigger” then what the amp produces. I guess you could say the mike “colors” the sound, in my case, this BIG round sound it great!
Jack M. Tankard –
Wonderful microphone. I may never sound fantastic, but this gives me a nice, warm feeling–better job than any other mic I’ve tried. Using it with a Presonus USB96, works just fine. Also sounds good with my Pyle XLR to USB Signal Adapter.
Ed P –
Recording classical guitar, this mike is warmer than my Rhode mics. Will use them as a pair. Satisfied especially for the price.
ayurmonk –
I have revised my assessment. Unlike conventional passive ribbon mics which can be damaged by phantom power, this one needs phantom power to function!
Once placed appropriately, it captures a very smooth mellow signal, which is a welcome relief from the shrill upper frequencies offered by most Chinese LDCs. Excellent for voice(both male and female) and strident instrumental sounds.
Excellent value for money. Some hiss is audible at high gain but can be handled in post or by gating, particularly on voice overs.