Audio-Technica AT4033

A side-address condenser that walked into studios full of conservative engineers and refused to leave.

Overview

Mix (February 1992, p.84) noted the 4033 at $699 and observed that it could handle roughly 90% of all studio miking chores, with the reviewer guessing that most multipattern mics are usually called for only when that last 10% demands it. The same review raised a small wish-list item — that Audio-Technica might offer a rear-vent option for the capsule, presumably to get closer to the flexibility of a multipattern design. That is a fair critique from someone who clearly used the mic rather than just measured it, and it is worth weighing against the price. At $699, a studio could buy the 4033 and still have budget left over for the second and third microphones a real session needs.

The 40 Series family around it - AT4031 and AT4051 appear alongside the 4033 in period advertising - was clearly being positioned as a coherent line, not a single hero product. EQ (June 1993, p.87) ran endorsements from Chris Lord-Alge and Tom Lord-Alge. Tom Lord-Alge's testimonial described receiving the 4033 and immediately putting it to work recording background vocals. Mix (March 1994, p.135) followed with Alex Haas, mixer for Eric Clapton's 1993 Grammy song of the year. He described the 4033 and AT4051 as two new friends and used both to sample an enormous range of sources. A decade after introduction, Audio-Technica ran its own "Celebrating a Classic" advertising. It quoted producer Phil Ramone saying the 4033 was incredible and that once he put it up, he could never really take it down. That is marketing copy, not an independent verdict.