Audio-Technica AT2031 Microfone condensador para instrumentos

Audio-Technica AT2031 — Cardioid Condenser Microphone for Strings, Overheads, and Percussion

Audio-Technica AT2031 is a small-diaphragm end-address cardioid condenser microphone engineered for critical studio and live recording of stringed instruments. Its permanently polarized element produces an extended frequency response with a slight rise in the high-frequency region, giving acoustic guitars, violins, cellos, harps, and pianos a more detailed and airy sound. This model is the ideal microphone for stringed instruments in critical studio and live applications, and its combination of low self-noise, high SPL handling, and rugged steel construction makes it equally useful as a drum overhead, hi-hat mic, or auxiliary on a recording session.

What Sets the AT2031 Apart in the Small-Diaphragm Condenser Category

Built around a fixed-charge back-plate permanently polarized condenser element, this unit pairs a star-shaped metal grille with four sets of quadruple slots for precise directivity control. The cardioid polar pattern improves isolation of the desired sound source, while the switchable 150 Hz, 6 dB/octave high-pass filter uses a gentle slope that controls low frequencies in a soft, natural way. Two units can be combined as an affordable ORTF or X/Y stereo pair, and the included AT8405a stand clamp fits any cylindrical microphone with a 21 mm diameter.

Element, Polar Pattern, and Frequency Response — Capturing Detail on Acoustic Sources

The capsule and tuning are what define how an instrument microphone translates the player's touch into a recording. The permanently polarized condenser element and cardioid pattern are tuned to flatter the natural resonances of strings and percussion, with a slight high-frequency lift that adds air without sounding harsh.

• Fixed-charge back plate permanently polarized condenser provides a stable, consistent output that does not require external polarization voltage.
• Polar Pattern: Cardioid — focused pickup that rejects off-axis bleed from nearby monitors or instruments
• Frequency Response: 20 – 20,000 Hz with a slight rise in the high-frequency region for added detail on strings and cymbals

SPL Handling, Dynamic Range, and Self-Noise — Performance Headroom for Loud and Quiet Sources

From the delicate top of a harp to the crack of a snare rimshot, the instrument mic is built to capture both extremes in a single session. A wide dynamic range and low self-noise mean quiet passages stay clean, while the maximum SPL rating keeps loud transients distortion-free.

• Maximum Input Sound Level: 141 dB SPL (1 kHz at 1% T.H.D.) — comfortably handles drum overheads, brass, and aggressive acoustic playing
• Dynamic Range: 124 dB (1 kHz at max SPL) — wide usable range between the noise floor and clipping point
• Noise: 17 dB SPL — low self-noise suited to digital recording chains and quiet acoustic sources
• Signal-to-Noise Ratio: 77 dB (1 kHz at 1 Pa) — clean signal for direct-to-interface recording

Build, Power, and Connectivity — Practical Specs for Studio and Stage

Mechanical and electrical details matter when a microphone moves between the control room, the rehearsal space, and the stage. The steel housing, compact footprint, and standard 48 V phantom power make it drop-in compatible with virtually any modern audio interface or mixing desk.

• Weight of 134 g makes it light enough for compact shock mounts and overhead mic bars.
• Dimensions: 143 mm long, 21 mm maximum body diameter — discreet end-address format that fits standard 21 mm clips
• Open Circuit Sensitivity: -34 dB (19.9 mV) re 1V at 1 Pa — strong output level for direct connection to most preamps and interfaces
• Phantom Power Requirements: 48 V DC, 2 mA typical — standard 48 V phantom from any mixer or audio interface
• Output Connector: Integral 3-pin XLRM-type — balanced output for long cable runs without noise pickup
• Switches: Flat / roll-off (150 Hz, 6 dB/octave) — engage the high-pass filter to cut stage rumble and proximity effect
• Accessories Included: AT8405a stand clamp, windscreen, soft protective pouch — ready to mount and transport straight from the box

Who the Instrument Mic Is For — Studio Engineers, Live Recordists, and Project Studios

It is the right choice for studio engineers, live recordists, and project-studio owners who need a small-diaphragm condenser that excels on stringed instruments, drum overheads, hi-hat, and piano. Musicians upgrading from built-in pickups to a dedicated microphone, classical and acoustic guitarists tracking demos or albums, and live sound engineers looking for a discreet, rugged auxiliary mic for percussion and overheads will find it effective. Two units also work well as an affordable ORTF or X/Y stereo pair for chamber ensembles, drum overheads, or piano.