1. Is this your first encounter with Audio-Technica microphones?

No, not at all. I actually have been using some of your microphones. I’m familiar with the brand.


2. So what’s your impression of the microphones?

The strange thing is (Audio-Technica microphones) actually seems slightly underrated in the industry. I guess maybe it’s marketing driven or rider driven but in terms of microphone; in terms of choice and quality and amplification, I think Audio-Technica is comparable and the brand covers most of the application basis. So Audio-Technica don’t just offer a stage microphone, or studio microphone or broadcast microphone. It has offerings across the spectrum.


3. You mentioned you’re quite familiar with Audio-Technica brand.

Yes, I am. I have been using the AT650, AT450, AT4041.  I used to use them a lot in Cambodia as I used to have a company there. We have a selection of Audio-Technica microphones; from condenser microphones to dynamic microphones and we use them for live reinforcement for many Cambodian classical music instruments. I still have all of them.


4. What are some of the microphones you have deployed for this musical production?

I deploy a mixture of microphones for this show. I have never used the AE3000 microphone before, so I am now using it on guitar amps and the AE2500 dual element kick drum microphone for the kick drum. I usually use a boundary microphone inside the kick drum, plus a dynamic just slightly inside the cut-out skin. This time round – I have boundary plus the dual element – which gives me 3-channels of kick drum.

Employing technology like virtual sound check from the FOH console, we can afford the luxury of experimenting with different microphones unlike a one-night concert. We were trying different microphones and setup during the rehearsals; between microphone and DI (box), 2 microphones and 1 DI..etc. So eventually, the violin was using 2 microphones without any direct signal. Guitar amps were all combinations of DIs and microphones.


2 x AT-5045 microphones deployed by Jeffrey


5. Actually, that is my next question. Do you see yourself changing the setup in the middle of the show run?

No. We only experimented with the setup during rehearsals, unlike a pop concert where we only have one afternoon to make decisions. So that give us some flexibility.


6. After using the microphones, what are your impressions?

They feel good! I know it’s strange to describe the microphone as feeling “good”, but the microphones themselves from the build to the audio quality, it feels robust. And that’s important because the microphones have to deliver throughout the longer run periods. The other aspect is also that you can now own a range of good Audio-Technica microphones, which is usually a studio prerogative, due to the price points. And deployment of different microphones for either studio or live settings are crucial. Interestingly, sometimes a theatre production is one of those rare occasions where the 2 scenarios are blurred. This is a loud show compared to the ones I usually design, which some people complained I am too soft sometimes! So when I was approached to design RENT, I contacted Audio-Technica as I have never worked with you on a rock and roll musical before and I wanted to try out your microphones as a comparison to some of the other microphones I use.


7. What are the Audio-Technica microphones that has stood out for you?

The expensive ones, of course! (laughs). The flagship model, AT5045! I love the clarity of the microphone. And now that I have used it for this musical, I am considering using it for my other classical shows! I will be going to Macau for the Macau International Music Festival at the end of October. The closing show is a Charlie Chaplin movie accompanied by a live 60-piece orchestra. I would love to use it on a Celeste!


Another deployment of AT5045 microphone by Jeffrey


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