ATM350 vs. Pro 35? Is the ATM350 that much better???

[lespaul_79]

Audio-Technica ATM350 Cardioid Condenser Clip-on Microphone $250
http://pro-audio.musiciansfriend.com/product/Audio-Technica-ATM350-Cardioid-Condenser-Clipon-Microphone?sku=270313

Audio-Technica PRO 35 Cardioid Condenser Clip-on Instrument Microphone $140
http://pro-audio.musiciansfriend.com/product/Audio-Technica-PRO-35-Cardioid-Condenser-Clipon-Instrument-Microphone?sku=270516

In another chat thread, someone said....
"The Audio Technica pro35 has a better freqeuncy response than the 350 (a little flatter on the highs). The pro 35 sounds great and is user friendly."

And someone else said.....
"If you look at the freauency plots on the AT web site, they're both reasonably flat, I can't see a major difference. The ATM350 extends further with flat response into the upper "air" frequencies, although many PA's won't reproduce that. I've been happy with an ATM350 on mandolin and fiddle. The Pro35 is also a good mic if you don't want to spend more."

Anybody think paying $250 for the ATM350 is $90 better than the Pro35? I'm torn!!!! I want to get something that will last me a long time, but if there is not much difference, I could use that extra $$$.

[lespaul_79]

anybody out there?

[lespaul_79]

Anybody out there this morning? Thanks...........

[Jean Fugal]

I have a couple of theories:

1. You get what you pay for, but you CAN pay too much.
2. Price and Quality do NOT always go "hand in hand".
3. I have NEVER been sorry that I bought the "best there was".

you have to figger' it out from there.

[lespaul_79]

Good advice... Thanks.

[steve V. johnson]

I have several Pro35s that I've had for years. I like them very well. I have not used the 350.

I'd suggest that you look at the freq plots and think about them relative to the way you'll use them. From my use of the 35s, no I wouldn't pay more. BUT... the 350 has an 80Hz high pass switch, a better power module, two different clips and a pouch. For most acoustic instruments I use a high pass filter somewhere in the chain, and it's nice to have the high pass on the mic if I'm taking it along to use with unknown PA systems. I use bubble-pack bags to wrap my 35's for travel. I've found that the clip on the 35s goes nicely onto the chinrest of a fiddle, and we've always found a way to get them attached to instruments without damage. So the hi-pass, the two clips and a pouch can add some value.

I always bring this up... The 35s used to come in two configurations, one has a long cable that terminates in a male XLR and needs phantom power, the other has a short cable that terminates in a "power module," a battery box, which in turn connects to an XLR mic cable and can run on the batteries or phantom power. Once the non-battery models were cheaper. I always avoided the battery box versions but they've become the common one now, and it's terribly hard to find the XLR version.

As to the actual value of the clips and the pouch, go to the AT website and look at them and then you'll have more information about whether you'll use 'em or not.

HTH,

stv

[jim_n_virginia]

I can't help ya with those models because I own the AT Pro 70 clip on but I will say this. I stopped using it because with the mic clipped on the front of the instrument you had no control over the dynamics of your sound while playing unless you just played softer or louder.

I went back to playing into a standing condenser mic (AT 4033) because I could step up to the mic when I am taking a lead and step back when just playing back ground in effect mixing myself just like you do with the one mic set up when we do the dance around it.

With the stand up condenser if I need to tune I can turn away from the mic for a sec and tune and then turn back. With the cond. mic clipped to the front you cannot tune up quietly unless you turn a knob or step on a pedal.

[foldedpath]

I can't help ya with those models because I own the AT Pro 70 clip on but I will say this. I stopped using it because with the mic clipped on the front of the instrument you had no control over the dynamics of your sound while playing unless you just played softer or louder.

I went back to playing into a standing condenser mic (AT 4033) because I could step up to the mic when I am taking a lead and step back when just playing back ground in effect mixing myself just like you do with the one mic set up when we do the dance around it.

That's a good point for those who play standing up, but not everyone performs that way. Those of us who perform while sitting down in bands playing Irish traditional, Blues, OldTime, or other "traditionally seated-while performing" genres can't easily change volume that way. There is only so much moving back and forth to the mic that you can do, without killing your back by trying to hold and play in one position (or maybe it's just an old geezer thing?).

In my "Celtic" trio we usually play seated unless it's a dance, and I don't worry about, it because we do it all with player dynamics. But it takes the right other players, and carefully worked-out arrangements to pull that off. In the Oldtime/Blues string band I sometimes play in, I use a boost function in a floor pedal (G-Natural), with an insert out from the mixer channel. There are ways to skin that cat when you're sitting down, it just takes a little more work than dancing around the mic.
:)


With the stand up condenser if I need to tune I can turn away from the mic for a sec and tune and then turn back. With the cond. mic clipped to the front you cannot tune up quietly unless you turn a knob or step on a pedal.

With an insert patch from my clip-on mic out from the mixer, I can tune up with a Peterson Strobostomp pedal and mute the signal. No big deal when playing, but yeah... it is more gear to hook up.

[steve V. johnson]

I can't help ya with those models because I own the AT Pro 70 clip on but I will say this. I stopped using it because with the mic clipped on the front of the instrument you had no control over the dynamics of your sound while playing unless you just played softer or louder.

That never occurred to me. That's terrible.

stv

[lespaul_79]

You guys rock. I've read so much about this and I saw y'alls post everywhere. Always great advice.

Well, I think I'm just going to go for the ATM350.

I have a Boss Tuner pedal, that I can use as a mute while I tune, even though I tend to use the clipon IntelliTouch tuner.

Steve, what is the "80Hz high pass switch"? What happens when I flip the switch? What kind of control will it give me?

Thanks again!

[foldedpath]

The 80Hz highpass is a filter for low frequencies: it ramps off the level for everything below 80Hz, on a sharp or gradual basis depending on the quality of the filter. If a mic or mixer channel includes that filter, you should use it for mandolin or guitar to reduce stage rumble, and leakage from the bass and drums (if you have them). It helps clear up the mud in a PA system.

[lespaul_79]

Good to know, foldedpath.

[Shelby Eicher]

I have one of both; I bought the Pro 35 for my mandolin after reading about the Punch brothers using them. It has been a great mic. I was reading on the Neumann forum about the ATM 350 being great for bass. I needed a mic for my son whom is a bassist. They both work great. I use the Pro 35 in conjunction with pick-ups on 4 different instruments and it works well. The 350 has a bit more top end if you look at the frequency response. As far as - "I stopped using it because with the mic clipped on the front of the instrument you had no control over the dynamics of your sound while playing unless you just played softer or louder." To me this is the essence for playing an instrument dynamically. I cringe at this kind of statement! You either master the ability to play softer and louder or you rely on some external aspect to accommodate your inability. What do you do when you play acoustically? Just play one volume and hope you're able to play over an ensemble or do you play over the top of soloist because you haven't acquired the ability to control your volume. The solution is to control your playing and learn how to play softer and louder. I think both microphones are good. The 350 is of a higher quality but the 35 sounds great and I have used it successfully many times.
Good luck,
Shelby Eicher
Education Director/National Fiddler Hall Of Fame
www.shelbyeicher.com