M
Mountaineer
New member
OK, this my opinion of a side by side test of these two mics and , no, I'm not posting MP3 files. I really performed the test only because I wanted to see if the MXL 2003 was Ebay bait after I purchased the AT4033. This is my opinion only . . . made with my ( and my wife's ) ears as a judge. So, don't give me a speech, I'm only sharing my unprofessional opinion.
First, let's consider prices. The MXL 2003 retails for $299 with a street price of around $279 and I paid $249 including the shock mount and shipping. The AT4033 retails for $495 with a street price of around $349 and I paid $245 ( with shipping / new in box off Ebay ). So, I basically paid the same for both of these mics.
Here's how I conducted my 3 part test . . . not very scientific. My system was set up as follows:
Mic>Monster500>Mackie1202vlzPro>Dbx266>GadgetLab>CakewalkPA9 ( 24 bit )
To test vocals, I opened a MIDI file in PA9, "Tears in Heaven" by Eric Clapton. I then recorded the lead vocal track with the AT4033, then the MXL 2003, keeping the exact same settings. Both mics have the high pass and -10dB switch, but both were in neutral. The Mackie was set to high pass, and the level setting was done with the AT4033 on the first cut. After I was done with the 2003, it was clear, looking at the wave forms, that the AT4033 was the "hotter" mic . . . its wave form had higher peaks. I then duped both tracks and added two real-time effects to each . . . small plate reverb and 30ms delay. I listened and listened to all four tracks played alone and with the MIDI music. I had my wife listen, while I muted and switched tracks throughout the song several times. I knew which mic was which, she did not. We both picked the AT4033. It simply had more presence and added character to the vocal. There also seemed to be fewer sibilance problems with the AT4033, especially when effects were added.
To test acoustic guitar, with the same set up, I simply recorded two tracks of a simple song. "Stairway to Heaven" . . what can I say, it was Sunday !! The winner ? It was a tie. Both mics had their weak/strong points. The MXL lost a little in the midrange, which could be made up with EQ on the Mackie, and the AT4033 lacked a little crispness for my taste. Still, playing with EQ, I could improve it. My wife actually picked the MXL, but after I EQ'd the AT4033, she agreed it was as good.
Lastly, I connected my POD to my Amp and cranked out some overdriven guitar. The mics were placed about 18" away from the Amp and the compressor was not used. I played two different styles. "China Grove" set to Fender Twin and "You Really Got Me" set to Soldano. The results ? Besides the fact that the AT was hotter, it was really a tie. My wife couldn't tell the difference. What does she know ? She doesn't like distorted guitar anyway ! While I could tell, it was a subtle difference. The AT4033 seemed to have a smoother sound, especially on the Soldano setting. I think it was due to the better midrange response. After I monkey'd with the Midrange EQ I ran the MXL test again and got more even results.
Summary : 1 ) AT 4033 is better on Vocals . . . hands down.
2 ) These mics are about equal on Acoustic guitar with the MXL
being a little more crisp on the highs and the AT with better midrange.
3 ) I preferred the 4033 on distorted guitar simply because of midrange response,
and the fact that any mix I made would benefit from this.
I can't end this unprofessional review without commenting on each mic's shock mount. The MXL shock mount is a spring clamp type with a padded holder centered spider style. It's easy as heck to put the mic in and out with easy access to the single -10dB / high pass switch. The AT 4033 shock mount is also a spider type, but uses a blasted rubber band !! Now, I'm the type that likes to keep these mics in their cases when not in use, but the AT mount is a pain in the @#$%@. When you finally get it through the friggin' rubber band, the two switches for -10dB and high pass are hard to reach without readjusting it. Too bad the 4033 won't fit in the MXL's shock mount ! I wonder how much AT charges for replacement rubbers ? This thing's bound to break sooner or later.
I'm glad I ran the tests, because I think I'll hang on to the MXL 2003 a while. For guitars, I ran separate stereo mic tests with pretty good results. They are close enough for my ears to be used as a stereo pair, especially on distorted guitar. And for acoustic guitar, the MXL's crisp highs compliment the AT's dynamic midrange in the stereo field.
Is the AT4033 worth the extra $200 retail ( $495 vs $299 ) . . . not to me . . . a home recordist doing demos. Is the AT4033 worth the extra $70 street price ( $349 vs $279 ). Yes, the improvement is worth $70 for vocals alone, so, save your allowance another month and get the AT4033. I'm I happy I paid equal for both ? You bet ! I still say the AT shock mount sucks though !
Regards,
PAPicker
First, let's consider prices. The MXL 2003 retails for $299 with a street price of around $279 and I paid $249 including the shock mount and shipping. The AT4033 retails for $495 with a street price of around $349 and I paid $245 ( with shipping / new in box off Ebay ). So, I basically paid the same for both of these mics.
Here's how I conducted my 3 part test . . . not very scientific. My system was set up as follows:
Mic>Monster500>Mackie1202vlzPro>Dbx266>GadgetLab>CakewalkPA9 ( 24 bit )
To test vocals, I opened a MIDI file in PA9, "Tears in Heaven" by Eric Clapton. I then recorded the lead vocal track with the AT4033, then the MXL 2003, keeping the exact same settings. Both mics have the high pass and -10dB switch, but both were in neutral. The Mackie was set to high pass, and the level setting was done with the AT4033 on the first cut. After I was done with the 2003, it was clear, looking at the wave forms, that the AT4033 was the "hotter" mic . . . its wave form had higher peaks. I then duped both tracks and added two real-time effects to each . . . small plate reverb and 30ms delay. I listened and listened to all four tracks played alone and with the MIDI music. I had my wife listen, while I muted and switched tracks throughout the song several times. I knew which mic was which, she did not. We both picked the AT4033. It simply had more presence and added character to the vocal. There also seemed to be fewer sibilance problems with the AT4033, especially when effects were added.
To test acoustic guitar, with the same set up, I simply recorded two tracks of a simple song. "Stairway to Heaven" . . what can I say, it was Sunday !! The winner ? It was a tie. Both mics had their weak/strong points. The MXL lost a little in the midrange, which could be made up with EQ on the Mackie, and the AT4033 lacked a little crispness for my taste. Still, playing with EQ, I could improve it. My wife actually picked the MXL, but after I EQ'd the AT4033, she agreed it was as good.
Lastly, I connected my POD to my Amp and cranked out some overdriven guitar. The mics were placed about 18" away from the Amp and the compressor was not used. I played two different styles. "China Grove" set to Fender Twin and "You Really Got Me" set to Soldano. The results ? Besides the fact that the AT was hotter, it was really a tie. My wife couldn't tell the difference. What does she know ? She doesn't like distorted guitar anyway ! While I could tell, it was a subtle difference. The AT4033 seemed to have a smoother sound, especially on the Soldano setting. I think it was due to the better midrange response. After I monkey'd with the Midrange EQ I ran the MXL test again and got more even results.
Summary : 1 ) AT 4033 is better on Vocals . . . hands down.
2 ) These mics are about equal on Acoustic guitar with the MXL
being a little more crisp on the highs and the AT with better midrange.
3 ) I preferred the 4033 on distorted guitar simply because of midrange response,
and the fact that any mix I made would benefit from this.
I can't end this unprofessional review without commenting on each mic's shock mount. The MXL shock mount is a spring clamp type with a padded holder centered spider style. It's easy as heck to put the mic in and out with easy access to the single -10dB / high pass switch. The AT 4033 shock mount is also a spider type, but uses a blasted rubber band !! Now, I'm the type that likes to keep these mics in their cases when not in use, but the AT mount is a pain in the @#$%@. When you finally get it through the friggin' rubber band, the two switches for -10dB and high pass are hard to reach without readjusting it. Too bad the 4033 won't fit in the MXL's shock mount ! I wonder how much AT charges for replacement rubbers ? This thing's bound to break sooner or later.
I'm glad I ran the tests, because I think I'll hang on to the MXL 2003 a while. For guitars, I ran separate stereo mic tests with pretty good results. They are close enough for my ears to be used as a stereo pair, especially on distorted guitar. And for acoustic guitar, the MXL's crisp highs compliment the AT's dynamic midrange in the stereo field.
Is the AT4033 worth the extra $200 retail ( $495 vs $299 ) . . . not to me . . . a home recordist doing demos. Is the AT4033 worth the extra $70 street price ( $349 vs $279 ). Yes, the improvement is worth $70 for vocals alone, so, save your allowance another month and get the AT4033. I'm I happy I paid equal for both ? You bet ! I still say the AT shock mount sucks though !
Regards,
PAPicker