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Audio-Technica ATM350U Cardioid Condenser Microphone with Clip-on Horn Mounting System

Cardioid Condenser Microphone with Highpass Filter, Clip-on Instrument Mount, and 5" Gooseneck
3 Write review Item ID: ATM350U
$299.00

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Audio-Technica ATM350U Cardioid Condenser Microphone with Clip-on Horn Mounting System
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Freedom from the Stand is a Clip Away

The Audio-Technica ATM350U restores the dignity and freedom of motion that years of sharing a microphone has robbed from your horn players. This low-profile, low-distortion condenser mic clips directly onto the bell of a trumpet, trombone, or saxophone, dramatically improving the player's output while placing them directly in the microphone's sweet spot anywhere onstage. Using the ATM350U, the sound engineer gets full control over the horn section's balance, players can take solos where they stand, and audiences get a clearer view of the stage unobstructed by stands. An integrated gooseneck provides a range of on- or off-axis placement options.

Related Videos: ATM350U Cardioid Condenser Microphone with Clip-on Horn Mounting System

A stage condenser for any source

The ATM350 goes where other mics fear to tread — like inside the bell of a screaming trumpet or atop a rock drum kit. Even at high SPLs, this low-profile condenser microphone presents a crisp, quick, balanced sound on brass instruments, woodwinds, piano, drums, and strings. Its cardioid polar pattern reduces pickup from the rear and sides for effective feedback rejection, while its in-line 80Hz highpass filter cleans up handling noise for a cleaner mix.

Universal mount offers dependable performance

The ATM350U's clip mount clamps directly onto the bell of a horn. It tightens by hand for non-slip performance, using four rubber contact points to minimize instrument damping and sympathetic vibrations. If you're looking for consistent sound from night to night, Sweetwater recommends miking your horn with the Audio-Technica ATM350U.

Violin mount and carrying case add value

In addition to the mic and mount, the Audio-Technica ATM350U includes a hook-and-loop bridge mount for violins, along with a carrying case for protection in transit.

Audio-Technica AT350U Horn Microphone Package:

  • The clean way to mic horns onstage
  • 5" gooseneck provides a range of on- and off-axis miking options
  • AT8491U horn mount eliminates the need for a stand
  • Handles high SPLs (149 dB) without overloading
  • Full frequency response (40Hz-20kHz) faithfully captures saxophones, trumpets, and trombones
  • Cardioid pickup pattern elicits a natural sound with minimal feedback
  • In-line 80Hz highpass filter fights handling noise
  • Violin mount expands the ATM350's applications
  • Carrying case protects the mic in transit

Additional Media

Studio Microphone Buying Guide

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Tech Specs

  • Microphone Type: Condenser
  • Polar Pattern: Cardioid
  • Frequency Response: 40Hz-20kHz
  • Max SPL: 159dB SPL
  • Signal to Noise Ratio: 65 dB (A weighted)
  • Output Impedance: 200 ohms
  • Color: Black
  • Connector: Hirose HR10 4-pin (mic), XLR (adapter power module)
  • Cable Length: 13.1 ft.
  • Power Source: 11-52V DC phantom power
  • Manufacturer Part Number: ATM350U

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Customer Reviews

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Bravo to Sweetwater!

After continued frustration with the inconsistent sound quality from a microphone on a stand for my saxophone, I ordered the above product from Sweetwater. Riley was very helpful and knowledgeable, sending it out to me quickly.
There were two missing parts, which prompted a call back to Sweetwater, where Taylor from Tech Support stepped in and arranged for shipment of another complete unit and arranging for the original one to be sent back. Riley talked me through the fine points of setting the Power Boost on the XL port on the mixer to improve sound quality. This occurred over a short time frame before a scheduled performance, which was cancelled due to the capricious nature of New England thunderstorms soaking the outdoor venue. A lot of extra effort was expended in Indiana to get things ready on time, though foiled by the Rain Gods. The return of the original Box was seamless.

ABOVE AND BEYOND!!!!
by J Critchlow from Weston, Massachusetts on

Great for on stage miking!

I recently put a handful of these mics on our strings (2 Violins, 1 Viola, 1 Cello). I got lots of usable signal out of these! Not very much bleed either.

The best thing about these is the velcro mount. Our players loved how it was very unobtrusive...no tapes, or clamps that could put pressure on their instrument.
by Wes Young from Springfield, MO on
Music background: Audio Engineer

Definitely the best for the money.

I've always been extremely picky about getting the best sound out of my saxophones and this mic helps me get the best sound. It has a very realistic and full depth sound you don't get with the cheaper mics and it sounds better than some of the more expensive bell mics. If you use this mic with the correct placement, you can actually get a better sound with it than the more expensive bell mics. If you play a brass instrument or the sax, I would recommend you get the optional longer gooseneck. I paid for the longer gooseneck later after purchasing this mic. I play the sax and the sax is definitely the trickiest instrument to mic correctly. Most saxophonists think you are suppose to point the mic down the center of the bell and this is the most common mistake. If you play brass, of course you point it down the center of the bell because that's where the entire sound is coming from. Here is how I point out to sax players the err of their ways: Completely cover your bell and play a G,A, or B and you will see that the sound is not affected at all by covering up the bell. Of course, connect a mic like this to your sax bell, but point it towards your A key. You will see that it is possible to get the natural sound of the sax if you do it this way. This mic is cardioid, so it picks up sound from the side and just a little to the rear also (look at the pick-up pattern for cardioid mics). So experiment with where you place the mic on the bell for the best balanced sound. Play the full range of the sax and place the mic so you are getting the same volume from low notes to high notes. As I'm holding my sax, I place the mic on the right side of the bell at about the 2:00 o'clock position on the bell (6:00 o'clock being closer to me and 12:00 o'clock further away from me). I point the mic so the sound of the bell is picked up from the mic indirectly a little from the side and rear. I get a very natural sax sound with this placement. The longer goose neck helps with the sax, because it helps to back up the mic a little from the sax so you can get that very wide pick-up range you need for the sound of a sax. The longer goose neck helps with brass players if you play loud. This mic can handle an extremely loud source; I've just learned that to get a more natural sound from any mic, it is better if you can back off the mic a little. One more tip for sax players, never use a hyper-cardioid or or super-cardioid mic on your saxophone. Also never trust professional sound engineers to understand how to mic a saxophone, even most of them think you just point the mic down the sax (they think that awful sound they get is usual for a saxophone). One last tip for saxophonists: use some kind of small sub-mixer for your saxophone(s) when you perform live. You can use your favorite sounding mouthpiece and get a great sound by using a sub-mixer because you can adjust your volume and match the volume of the other musicians using a sub-mixer. You don't have to use the loudest, brightest mouthpiece you can find just to match the volume of the other musicians if you use a sub-mixer. I use a very warm, beautiful sounding mouthpiece on my soprano sax and I easily match the volume of the band by using a submixer. Even if you only use one sax, it's a great idea to use a sub-mixer. You can have total control of your sax sound when you use a sub-mixer. Set the eq how it sounds best to you on your sub-mixer and maybe set up your reverb if you have a good reverb on your sub-mixer (if not, tell the sound person to add some reverb to your sax). I pan my sax channels on my sub-mixer to the left and I use an xlr cable from the L-Main output to feed to the PA. I pan my EWI or keyboards to the right and use the R-Main out for those. I tell the sound guy to leave the eq neutral (especially on my saxes), but sometimes they have to eq a little for some rooms.
by Mark White from Orlando, FL on
Music background: Professional musician since 1980.
See also: Condenser Mics, Audio-Technica, Audio-Technica Condenser Microphones
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