AT4047/B Anyone get one of these?

[Minker]

I just got mine Thursday and I love it! Finally escaping from that high end hype! I am a little concerned about the way the high pass filter works, and even more so about the way it was packed from full compass. Has anyone gotten one and also found that although the mic was in a case, it was not wraped in plastic or with any of that silica stuff? Thanks for any replys!

 

[Big Kenny]

Heres some comments about the "b"
http://www.recording.org/ftopic-24828-next.html
I think it was probably a return

 

[Dot]

The B version is black and just comes with a mic clip. The VS version is silver and comes with a shockmount. The idea of the B version is that it's meant for live stage use where the mic is meant to be less noticable. The SV version is meant for studio use. But they're both exactly the same mic.

The high-pass filter is at 80Hz. I recommend you engage it all the time - except perhaps if you're recording the low end of a piano. What a high-pass filter does is allow all the frequencies about the cut-off mark to "pass" through. In the case of the 4047 all the frequencies below 80Hz are not allowed to pass through. What the high-pass filter does in practice is not allowing the kinds of low frequencies that would cause rumble or low end ambient noise to come through the mic. It's actually a good idea to use a high-pass filter somewhere around 80-100Hz on everything except bass, kick and low piano or synth notes. Other than that, there's no frequencies below that point that help define many instruments such as voice, acoustic guitar, amps, drum OH's, most percussion, brass, strings [ except for bass and maybe cello ] And leaving in those frequencies can contribute greatly to having a muddy mix that's not defined. There's some exceptions: If you have a Marshall stack you might not want to use it if it turns out that leaving some of the lower frequencies will give it more body. And you can also decide that in the mix.

You'll also find that using a high-pass filter will give you more headroom for what you're recording because low-frequency rumbling that can take up headroom won't ever even make it past the mic.

Enjoy your 4047, Minker. I think it's the best FET mic AT makes in the 40 series. And many people feel the same way. It's on a totally different level and is very different from the brighter and grainy 4033, 4040 and 4050.

 

[Middleman]

I got to see the guts of this mic at NAMM and it is the only one AT makes with a mini transformer. I would speculate that is where the smooth upper end is coming from. Great mic. Enjoy.

 

[jeffree]

Quick question for Dan (or others)... and thanks for the high-pass clarification, Dan. Very helpful.

And speaking of high-pass filters, can we extend the analysis to monitors with a sub? I'm using some M-Audio BX5s (5") with a Wharfedale sub (8"), and it sounds great. More importantly, my mixes are translating well now that I can hear the low-end clearly.

My question for you or others: Is there any theoretical point that sub-owners should keep in mind when setting the high-pass use with a sub? In my case, is there anything I should know about the difference between an 80Hz and 100Hz cut-off?

I have the BX5s' high-pass swtich set at 80Hz and am sending all freqs below 80Hz to the sub (using the sub's crossover). The BX5s also have a 100Hz high-pass setting, and I'll get around to experimenting with it one of these days. For now, the sound is working well, but I'm curious: is there any technical reason for choosing 80 or 100Hz as a high-pass setting, other than what sounds best to me?

Thanks for any input,

J.

P.S. By the way, I'm finding that the little 8-inch sub is clearer for mixing than a 10" model I have. The 8" (100 watts) is adding quite deep and punchy bass, and there's no woofiness or boominess now. I'm thinking that an 8" sub might sometimes actually be preferable in a small studio setup. Surprising in a way.

 

[Middleman]

The crossover point is a function of partly the monitors and partly the room you are in. If you have some narrowband or single tone files, you can adjust it for your space. There are plenty of free tones out there on the internet and some low cost CDs if you need them.

Get a radio shack SPL meter, about $45, and then play the tones at 85db from 30 up to say 150. This will help you set the crossover point. When you see an obvious hole in the frequency range then you know to adjust the crossover to promote that range better. The goal being, the best and most even delivery of frequencies between the sub and the satellites from 30Hz up to 150.

 

[Raw-Tracks]

The B version is black and just comes with a mic clip. The VS version is silver and comes with a shockmount. The idea of the B version is that it's meant for live stage use where the mic is meant to be less noticable. The SV version is meant for studio use. But they're both exactly the same mic.

There is no such thing as a black AT4047. They are all silver. Neumann makes mics in both silver and black, maybe that's what you are thinking of.

I called Full Compass and asked them about the "B" version of the AT4047. They tell me the "B" stands for BULK. Meaning the mic does not ship in the usual retail packaging, more of a stripped down packaging. The mic is in fact silver, like all AT4047's are.

 

[jeffree]

Thanks, Middle. I had no idea that Radio Shack sells something that I might actually need. I'll check it out.

And one more question, folks, to bring my diversion back to the Dan's response specifically about mics:

If someone's buying a LD mic to record solo acoustic guitars, steel and nylon, would an 80Hz or 100Hz roll-off be the better choice? I realize, of course, that many others factors are important (including the choice of guitars themselves), but other things equal, would the 80 or 100Hz roll-off, both commonly offered in lower-end LD mics, be a better match for dropping those low-freqs that can muddy a solo guitar recording?

Thanks, again~

J.

 

[Minker]

More on the 4047

Thanks to all for your time and input. Dan, I've read alot of what you've written about mics. In fact it was your graph on mic characteristics that sold me on a MXL67G in an effort to escape the brightness of my C1. While I find the 67 to be slightly darker (and I think I like it better) than my C1, this 4047 is much more of what I was looking for! I've found that the 100HZ roll off on my other mics helped with finger picked acoustic guitar, but for singing would compramise fullness. Your suggestion of always keeping the high pass on the 4047 was a revalation for me. The 4047 roll off is REAL low, like for the rumble of vibrations from tapping you foot on the floor, and less detectable while a low E is ringing on my guitar, but while singing a note, if I switch the high pass back and forth, it almost seems fuller with the filter on! What I wonder from any other 4047 owners is if you've noticed some (other than lowfrequency) sonic changes on vocals with the high pass filter on?
"I called Full Compass and asked them about the "B" version of the AT4047. They tell me the "B" stands for BULK. Meaning the mic does not ship in the usual retail packaging, more of a stripped down packaging. The mic is in fact silver, like all AT4047's are. "

Yeah, thats what I've been told, and it was packed very modestly, but even the shock mount was in a plastic bag. The mic was in it's foam formed box, but not even in a plastic wrap, and no silica--where's my silica!! Just makes me suspicious that it's used for the price of new. If anybody else has gotten one from full compass they would know.

 

[Dot]

Well, good to know on the 4047 BULK version. I thought there was a black version of the 4047 for stage use. I stand corrected. Learn something new every day. Thanks!

Minker, the reason the 4047 could sound more full with the HPF on is because you're eliminating all the unwanted mud below 80Hz, so it's going to come through more defined.

 

[Minker]

That makes sense. That high pass filter may be a win/win situation, loose the rumble and get a little "fullness" to boot! Thanks again Dan.

 

[ozraves]

I've been told the "B" version denotes that it was used at a trade show or for some other demonstration purpose such as a mic eval.

I've also been told it's the same exact mic as regular retail but that it may not come in nonstandard packaging.

So, there is another wrinkle in the meaning of "B."

 

[bgavin]

There is an eBay seller marking them as "B" for (B-Stock). He is selling them for a ridiculous amount of money, so I don't pay any attention other than reading the ad.

I fell into a deal on my 4047 with shock mount, etc. Got it for $200 in mint condition. The seller was a bit miffed it didn't go higher, but I was the only bidder on a 7-day auction. Go figure, but I'm happy with it.

It is not as hot as my AT4040.

 

[Jburn34]

My 4047/sv is one of my favorite mics. I love it most female vocals...but it's great on a lot of other things also.