Audio-Technica

T
he Audio-Technica
AE2300 is a cardioid
dynamic instrument
mic and the latest
addition to Audio
Technica’s long-
established Artist
Elite series. In terms of design, it’s
not as fancy as their own dual capsule
instrument mics (the AE2500 and
ATM250DE), but is better equipped
than their regular ATM250 or
ATM230 instrument dynamics,
as refl ected in the mid price point.
The AE2300 is a broad-
application high-SPL cardioid
design, so should be ideal for
percussion, drums, guitar amps and
brass. It’s also pretty compact (less
then 10cm long), so is perfect for
discreet use in a live environment.
The weighty brass casing and top
grille feel robust, and the screw-tight
rubberised clip should see off any
wandering drum sticks while
providing some mechanical isolation.
Overall, it’s a beautifully designed
and manufactured mic.
The proprietary double-dome
diaphragm improves high-frequency
and transient response. The off-axis
frequency response is also
reasonably linear up to 120 degrees,
and not bad even at 180 degrees
off-axis, which could certainly be
benefi cial when setting up a
multi-miked drum kit.
The highs and the lows
Sonically, the AE2300 is voiced to
provide a mid-to-high-presence lift
peaking just above 5kHz, and also
has a small ‘air’ lift at around
14kHz. In practice this is great on
both percussion and drums, bringing
out the attack, and on the face of it
does a similar job to a Shure SM57.
Nevertheless, I put the two mics up
side by side and the AE2300 sounds
more precise in its midrange lift
while capturing more high frequency
‘air’, and overall on exactly the same
instruments they do sound noticeably
different. The AE2300 also has more
going on in the low frequencies than
an SM57, and only shows noticeable
tail off from about 80Hz. This makes
it great for capturing the full
frequency of lower pitched toms for
example, and on an electric guitar
cab those low frequencies are also
very welcome, even if one chooses to
curtail them later.
There are situations where the
extended high-frequency response
typically battle on for years with
no maintenance requirements, so it
should provide good value in the
long run.
may not be ideal, and with that in
mind, the AE2300 also includes a
switchable 6dB/octave low-pass
fi lter. This is set at 6kHz, which
does a good job of sucking the life
from percussion. Even so, in a
lively recording space, or if you’re
trying to minimise high-frequency
spill (cymbals and hi-hats for
example), it’s great to have the
option. I even found that the
low-pass fi lter worked quite well on
a guitar cab, as it shifted the focus
slightly more into the midrange.
Overall, the AE2300 is a
fantastic mic, and although its small
size makes it unsuitable for use as a
handheld, in other respects it’s more
versatile than the army of vocal
dynamics typically used on
instruments. It certainly isn’t cheap,
but well made dynamic mics
THE PROS & CONS
+
Compact stylish
design ideal
for live use
Tailored frequency
response with mid
and high boosts
Optional low-pass
fi lter to help curtail
excess high
frequencies at source
Rubberised screw
tight clip for
secure mounting
-
Reasonably pricey
for a dynamic mic
Small size precludes
use as a handheld
FM VERDICT
8.8
It doesn’t come cheap,
but the AE2300’s attractive
design, compact footprint
and supreme build quality
make it an incredibly
desirable instrument mic for
both live and studio use.
It has more going on in
the low frequencies than
an SM57, and only shows
noticeable tail-off from 80Hz
Audio-Technica AE2300 | Reviews
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FMU317.rev_audiotechnica.indd 99 3/21/17 5:42 PM