This microphone instantly conjures up the idea of a broadcast situation, where an overhanging mount allows it to be moved around a radio studio for vocal work. And yes, that is an ideal use for the AT-BP40, as it is perfectly suited to broadcast operation for both radio and television work. The hypercardioid capsule offers excellent side rejection and a very direct pickup pattern to isolate one individual voice from others in the room. Furthermore, being a dynamic microphone, it picks up more sound from close range and doesn’t tend to capture much of the unwanted room noise that is often a problem with more sensitive condenser microphones. Take all this and consider the addition of a humbucking coil in the schematic to ensure further rejection of noise from electromagnetic interference, and the result is a microphone that lets you hear what you want and leaves the rest of it out. But it isn’t just a broadcast interview microphone; the AT-BP40 has so much more to offer.
In the studio, this microphone delivers on all fronts. For vocals, especially in loud rock and metal applications, the AT-BP40 produces a sound that is very much reminiscent of a warm condenser microphone, but without the distortion that high sound pressure levels can create. This makes it ideal for a range of instrument uses too. Put it in front of a guitar amp and you’ll understand why it’s good to experiment with different microphones and positions. You’ll get so much more from the large diaphragm of the AT-BP40 than what you get from just sticking a 57 in front of your amp. With that in mind, it will work a treat for big, booming floor toms on a drum kit and even delivers the goods in front of a bass amp when the DI just isn’t giving you the natural characteristics you want. There’s very little this microphone can’t achieve and I can pretty much guarantee you’ll want to experiment with it to see just how you can change or improve certain sounds within your mix.