I have long been a champion of the Audio-Technica AT4051, a modular small-diaphragm, condenser mic system that streets for about $599. In a shootout done years ago for an audio magazine, the AT4051 performed impressively against a Who's Who of premium (and often higher priced) pencil condensers. So when I got the chance to check out the new AT2021 ($139 MSRP), I jumped at it.

Two things about the new Audio-Technica model immediately caught my attention. One is the small size; at just 4-inches long and weighing under 3 ounces, this is one of the most compact stand-mounted mics I have seen. The other little thing is the price; I have seen the AT2021 selling online for under $100. It should come as no surprise that a mic this affordable is made from Chinese parts, as verified by a stamp inside the recessed XLR jack.

At this price point, one would expect the fixed-cardioid AT2021 to be a no-frills affair. There is, indeed, no low-cut filter and no attenuator pad. And although the accessory list is modest, the mic does come with a padded pouch and a swiveling mic clip that seems built to last. In addition, the body is as rugged and professional-looking as anything else in the Audio-Technica catalog. The manual is of the one-sheet type, as seen on the company's website.

Sure, the diminutive AT2021 is perfect for this age of shrinking studios and shrinking budgets. But there has to be a catch, right? Well, as far as specs go, the AT2021 is very close to its bigger brother, the AT4051. These two models have a similarly hefty SPL rating of 145 dB at 1 percent distortion. In terms of noise, the AT2021's electronics produce a 3dB higher noise floor, and it has a 3dB lower dynamic range and signal-to-noise ratio compared to the AT4051.

For frequency response, the Audio-Technica AT2021 is rated down to 30 Hz, with nearly ruler-flat response from 200 Hz to 3 kHz. A rising response at 4 kHz produces a prominent presence peak centered at 10 kHz.

On The Job
When it came time to put this mic to the test, I was more than ready. With a series of film-soundtrack classes coming in to my Guerrilla Recording studio from nearby Mills College, I had an array of conventional and unusual instruments to record. An Avid Pro Tools LE system was employed, with a Grace 101 preamp paired to the AT2021 as the front end.

Throughout a series of three student soundtrack sessions, I used the AT2021 on bells, chimes, bowed cymbal, violin, vibraphone, chord organ, transistor radio, vocals and breath effects, an antique keyboard zither, and foley sounds. I tried this mic on every acoustic instrument the class brought in, and never felt compelled to change it.

My greatest concern was with the violin, as the 2021's 10 kHz presence boost can sound a bit dry and scratchy. But the addition of reverb made a huge difference, and ultimately I was able to use the violin in the soundtrack mix without any equalization.

The AT2021 condenser really shone on the array of percussive instruments, delivering realistic transient response and an incisive presence that made it possible for many of these sounds to remain audible at very subtle mix levels.

In particular, the AT2021 did a great job on vibraphone during this session, as well as on an unrelated recording featuring percussionist William Winant. The microphone's accurate midrange captured the chordal tones and harmonics of this metalophone with gorgeous clarity and richness. And the presence boost was perfect for situations where soft mallets were called for.

In an X/Y stereo configuration, the two mics I had were closely matched in response, yielding a coherent stereo image from the low to high registers.

All Your Bass…
The AT2021 got a more rigorous workout on a session at Guerrilla with percussionist Kjell Nordeson. When he brought in a large symphonic bass drum and a thirty-inch gong I was curious to see how the mic would handle the earth-shaking low end of both of these instruments.

Normally I would use a large-diaphragm condenser with flat or enhanced low-end response on a concert bass drum. And with several such mics in my vault to choose from, chances are my ideal mic would be in the $1,000+ class. But I was blown away when I brought up the fader on the AT2021 and experienced the same thundering and effortlessly clear lows I had heard standing in the room next to this drum.

Similar results were heard (and felt) on Nordeson's large tam-tam. Here was all the richness and complexity I would expect from a top-dollar transducer, with low end that I could feel all the way down to my toes. Because of the close proximity of other instruments in the room on this band session, both Audio-Technica mics were placed within six inches of their intended sources. Even with forceful hits, the mics never showed signs of distortion or low-frequency overload.

My studio partner Bart Thurber also had a chance to weigh in on these tiny transducers. He mainly used the mics as a drum overhead pair and really liked them on an assortment of hard-hitting rock drummers. He cited the AT2021 as being "not peaky, with lots of bang for the buck."

On the subject of cost, he volunteered that the AT2021s "don't sound cheap." But when I mentioned the actual price to him his response was, in a word, "unbelievable.”

Preferences
After the extensive real-world testing I did of the AT2021, only two drawbacks emerged that were worthy of mention. One was the noise floor, which was noticeable only when recording some of the quieter acoustic sources for the film class. Although interpreting specs is a complicated (and controversial) endeavor, it is a fact that the 2021's A-weighted noise measurement of 19 dB is 5 to 10 dB higher than that of some mics I regularly use. However, for the majority of applications I would not expect noise to be an issue.

The only other potential drawback of the AT2021 is its broad 10kHz response peak. It might be more correct to classify this as a mild blessing or curse, depending on one's taste and musical style. Most engineers—myself included—often like to dial in a little extra high-end to help a track cut through. But I prefer to be the one in control of any significant high-frequency boost, be it 3kHz "bite," 6 kHz "presence," or 10kHz and above "airiness." The 3 to 4dB high-end boost of this mic, though not overwhelming, is sufficient to be a consistent and defining characteristic. Discerning classical recordists might find this quality to be a bit too much, as it contributes to a sizzly treble timbre. On the other hand, rock engineers will probably love it and be tempted to add even more highs.

Big Deal
Despite my snobbiness about inexpensive and Chinese-sourced mics, I have to admit that you do get a lot of something for almost nothing with the AT2021. After recording dozens of tracks with this small diaphragm condenser, I am extremely impressed with its defined sound that is rich in both low-end and midrange tone.

The mic's presence boost, though it might be too much for some tastes, generally enhances the natural sonic signature of many instruments. But, most importantly, this little mic just sounds big—big enough for almost any recording job. Highly recommended.

Pros: Small. Inexpensive. Captures low-end well.

Cons: Presence boost might not be everyone’s cup of tea.

Myles Boisen is a guitarist, record producer, and composer in Oakland CA. His website is www.mylesboisen.com