Ribbon microphone technology has evolved substantially with the recent development of “powered” versions of this transducer type. The design includes a head amplifier that allows active ribbon mics to have a higher output level than the passive models. At the same time, it adjusts the impedance load on the ribbon element, which opens up options for using lower powered preamps that, normally, would be unable to drive a passive ribbon mic.

These developments have not escaped the attention of Audio-Technica, which recently brought to market its own powered ribbon mic, the AT4080 ($1,245 MSRP). Resembling a suspension-cradled, side-address condenser mic, the AT4080 has a bidirectional polar pattern, with Neodymium magnets and a dual-ribbon design that is meant to increase the mic’s sensitivity. The ribbons are mounted front-to-back with one positioned slightly in front of the magnetic pole and the other slightly behind it. The ribbons move in unison, and the ribbon motor is mounted behind a resonator plate that is designed to increase the AT4080’s high-frequency response (see Fig. 1).

Indeed, with a response from 20 Hz to 18 kHz (±10 dB), the AT4080 has a wider frequency range that most ribbon mics. And the figure-8 pattern stays consistent from 200 Hz through the upper frequencies. The mic handles SPLs up to 150 dB, offering a S/N ratio of 72 dB and a dynamic range of 128 dB at 1 kHz (when hit with a maximum sound pressure level). Of course, as an active mic, the AT4080 requires 48V phantom power to operate.

Audio-Technica recommends the AT4080 for vocals, horns, strings, acoustic instruments, drum overheads, orchestral recording, and electric guitar cabinets. According to the manufacturer, the mics are hand-built with meticulous attention to detail, and indeed, the build quality is the very robust. It feels solid, weighing in at just over a pound, and comes with a shockmount, a dust cover, and a case.

For the review, I used a pair of Neve 1099 preamps and a Cranesong HEDD 192 A/D/A converter, tracking 24-bit files at 48 and 96 kHz. Listening on headphones to myself speaking, while I adjusted levels, revealed how much of a gain increase the active electronics offer: the AT4080 easily captured me at a conversational level with the Neve’s input gain set at a relatively low 20 dB—only 5 dB higher than the setting I use with a very hot Neumann U47 within the same rig. The resulting sound was clear, silky, and intimate, with the AT4080 rounding out the squeaky, Kermit the Frog-quality of my voice.

Amps and Strings
I began the actual review by using the AT4080 to record an old Silvertone electric guitar, which was strung in a Nashville-type tuning, running through a pre-CBS Fender Twin amplifier. I set each of the knobs right in the middle to get a very clean sound. The AT4080 was placed about twelve inches away from the right speaker cone, along with a Shure SM7 up against the grill on the left speaker for blending purposes. I also used an AT4050ST as a stereo room mic, positioned about 12 feet away and 8 feet high, for possible blending as well.

Fig. 1: A view of the AT4080’s ribbon assembly and active electronic circuitry.

Listening to the AT4080 signal alone revealed a smooth, yet very robust, recording, with a substantial amount of low-frequency material—very nice, given the guitar’s high-strung tuning. My five-year-old daughter, who was in the room during playback, described it as a “caramel” sound, and I have to agree with her assessment: the guitar track sounded very thick and gooey.

Next, I blended in the SM7 track. After playing with panning, phase, and EQ, my love affair with ribbon mics and electric guitars was rekindled with intense fervor. Mixing in just a bit of the AT4050ST was even more pleasing: The stereo image widened up and the 4050ST’s high-frequency material added a sparkle that gave the track a life all its own.

With this same 3-mic setup, I recorded a few more electric guitar tracks with various other guitars and amp settings, ranging from very clean to extremely crunchy. The AT4080 provided an excellent tonal foundation in every configuration.

Active ribbon mics also allow you to record quieter instruments that would normally be out of reach with a passive ribbon design. With this in mind, I tried the AT4080 on a variety of acoustic instruments—nylon and steel stringed guitars, a lap dulcimer, and a bright sounding autoharp. The results were mixed and, with the exception of the autoharp, all were very usable on their own.

The acoustic guitars I recorded yielded great results. A pass on one of the steel-string guitars gave me a sound that was very close to the chunky, lower-mid guitar sound of Nick Drake. When blended with a decent condenser mic, the AT4080 added a nice amount of texture and heft to the midrange.

Reeds, Brass, and Percussion
In both live and studio settings, ribbon mics are popular for recording brass and reed instruments because of how well they smooth out the harshness in the high-frequencies. During the review, I tracked a sax player on tenor and baritone using the AT4080. When I first miked up the tenor, the output level was so high that it surprised me, and it took a moment to remember that I was using an active ribbon microphone. But after moving the mic around to find the optimum distance from the instrument—about four feet away—and then dialing in the proper amount of gain, I arrived at a warm, lush, intimate sound.

We then did a series of overdubs using chordal, sustained material that eventually gave us four tracks consisting of two baritones and two tenors. When I panned the tracks out across the stereo field to create an ersatz sax section, the overall sound was big, yet consistent and smooth.

I also use ribbon mics to record drums and percussion and have gotten consistently good results. Typically, I blend the ribbons with dynamic and condenser mics to get a powerful sound with a rich tonality.

With this in mind I set up the AT4080 to record a kit made up of a snare drum, a cymbal, and some percussion instruments, including an agogo bell, a flexatone, and claves. The results were, as expected, very good. In fact, the slight harshness of the cymbal was softened up by the AT4080 and the transients rendered smooth and mellow.

Power Vox
I’ve made various attempts to record vocals with passive ribbon mics using high-powered pre-amps, but the results have usually been pretty much unusable with all but the loudest of singers. But as I discovered early on in this review with my speaking voice, the AT4080’s powered ribbon renders these issues moot.

I did some recording passes with a male vocalist using the AT4080, and the classic ribbon sound was there—velvety, with the added details in the midrange that I was never able to get with a passive ribbon. Although the AT4080 would not be my first choice for a vocal mic on its own, blending it in with a condenser mic (and playing with phase relationship between the two) produced great results.

A Ribbon for a Song
Audio-Technica has a history of producing solid, well-engineered microphones, and the AT4080 definitely delivers in this regard. And with a street price below $1,000, the AT4080 is competitively priced against other active ribbon mics on the market.

The AT4080 yielded great results on just about everything I tested it on. Whether you’re looking for your first ribbon mic or you just want to add another to your collection, the AT4080 deserves a serious listen.

Pros: High output levels. Smooth sound. Well built. Extended frequency range.
Cons: None.

Walt Szalva owns and operates Planet-3, a full service audio production studio located in San Francisco.