The MXL 2001 holds a special place in the world of audio recording as one of the first affordable large-diaphragm condenser (LDC) microphones to challenge the dominance of high-end models. Introduced by Marshall Electronics under its MXL brand, the 2001 brought professional-grade features to home studios and project spaces, offering a compelling blend of quality and value. With its cardioid polar pattern, transformer-coupled output, and a physical design that echoes the form of legendary Neumann models, the MXL 2001 remains a noteworthy option for vocalists, instrumentalists, and podcasters. Let’s dive into its design, specifications, and origins to understand why this microphone continues to resonate with budget-conscious creators.
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| Dismantled MXL 2001, click to enlarge |
Kinship with the Neumann U87 Design
The MXL 2001’s connection to the Neumann U87 is more than just marketing hype—it’s a deliberate nod to a studio icon. The Neumann U87, renowned for its clarity, versatility, and midrange presence, has been a staple in professional recording for decades. Its dual-diaphragm K67 capsule and transformer-balanced output set a benchmark for condenser microphones. The MXL 2001 borrows key elements of this philosophy, particularly in its circuit design and capsule choice.
The 2001 employs a variation of the K67-style capsule, albeit scaled down to a 32mm diameter compared to the U87’s 34mm. This capsule, paired with a transformer-coupled amplifier circuit, mirrors the U87’s approach to delivering a warm, detailed sound. The 2001’s circuit also uses negative feedback, a technique found in the U87, to tame the capsule’s natural high-frequency peak, resulting in a smoother response. While the 2001 doesn’t match the U87’s refinement—lacking its switchable polar patterns and ultra-low noise floor—it captures a similar vocal-friendly character at a fraction of the cost. For many, this makes it a practical alternative for applications where the U87’s price tag is out of reach.
Transformer Output: Warmth on a Budget
A standout feature of the MXL 2001 is its transformer-coupled output, a design choice that sets it apart from many budget condensers that opt for transformerless circuits. The transformer, though a modest 2:1 low-ratio unit, imparts a subtle warmth and saturation to the signal, giving recordings a touch of vintage flavor. This contrasts with transformerless designs, which prioritize transparency but can sometimes feel sterile.
In practice, the 2001’s transformer helps vocals and instruments sit comfortably in a mix, adding a slight midrange heft that’s particularly flattering for singers or acoustic guitars. However, it’s worth noting that the transformer’s impact is understated compared to high-end models like the U87, where the output transformer contributes significantly to its iconic tone. The 2001’s solid-state components handle much of the impedance conversion, which keeps costs down but limits the transformer’s sonic influence. Still, for a budget microphone, this feature adds character that’s rare in its price class.
Phantom Power Requirements
Like most condenser microphones, the MXL 2001 requires phantom power to operate, specifically 48V ±4V, with a current consumption of less than 3.0mA. This standard ensures compatibility with virtually any audio interface, mixer, or preamp equipped with phantom power. The microphone’s low power draw makes it an easy fit for home studio setups, where users might rely on entry-level interfaces like the Focusrite Scarlett or PreSonus AudioBox.
One consideration is that the 2001’s performance can be sensitive to the quality of the phantom power source. Clean, stable power is essential to avoid noise or distortion, so pairing the mic with a reliable interface or external power supply is advisable. For users with minimal setups, this requirement is a small hurdle, but it’s a reminder that the 2001 is an XLR microphone designed for traditional recording chains, not a plug-and-play USB option.
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| MXL 2001 in aftermarket shock mount |
Capsule Size and Model
The heart of the MXL 2001 is its 32mm K67-style capsule, featuring a 25mm gold-sputtered, 6-micron Mylar diaphragm. This large-diaphragm design is optimized for capturing detailed, full-bodied sound, making it ideal for vocals, voiceovers, and instruments like acoustic guitar or piano. The cardioid polar pattern focuses on sound directly in front of the mic, rejecting off-axis noise—a boon for untreated home studios.
While the capsule draws inspiration from the Neumann K67, it’s slightly smaller and tuned differently to suit the 2001’s budget-conscious design. The smaller diameter pushes the capsule’s resonant frequency higher, which, combined with the circuit’s corrective EQ, helps avoid excessive brightness. Aftermarket upgrades, like the RK-87 or RK-12 capsules from Microphone-Parts.com, can further refine the 2001’s sound, offering a more neutral or warmer response, respectively. These mods highlight the mic’s versatility and its potential as a platform for customization.
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| This MXL 2001 has K-87 Mic-Parts capsule inside |
Priced around $100–$150 (depending on condition and retailer), the MXL 2001 delivers remarkable value. When it debuted, it disrupted the market by offering a large-diaphragm condenser at a price accessible to hobbyists and semi-pros, a niche previously dominated by brands like Neumann and AKG. Even today, its affordability makes it a go-to for beginners building their first studio or professionals needing a reliable workhorse.
The MXL 2001 is manufactured in China, a common practice for MXL’s budget-friendly lineup. Marshall Electronics, based in California, designs and markets the microphones but outsources production to facilities overseas. Pinpointing the exact factory is challenging due to the opaque nature of subcontracting, but MXL mics are often produced in shared facilities that also make OEM products for other brands. Factories like those operated by Feilo or 797 Audio in China are likely candidates, given their history of supplying budget condenser mics. These plants specialize in high-volume production, balancing cost and quality to meet Western market demands. Regardless of the specific location, the 2001’s build—a sturdy black metal body with a screw-on stand adapter—feels durable for its price.
Epilogue: A Personal Reflection
In 2005, I found myself in a unique position, holding a brand-new Neumann U87ai in one hand and a brand new MXL 2001 in the other, my voice bouncing between them through my trusted Neve 8816 mixer and API 3124 preamps. With my favorite Sennheiser headphones on, I spent over an hour comparing the two, speaking and listening intently. The U87ai, a studio legend, left me cold—its sound was brash, raspy, almost harsh on my voice, lacking any warmth or fullness, even closeup for maximum proximity effect. The 2001, sounded virtually identical (given my source test material — my voice — and all the sounds my mouth could make). I switched from API 312’s to Grace m801, pristine transformer-less preamps; still no magic anywhere to be found.
That session sparked some serious soul-searching. I was tempted to return the U87ai while it was still pristine, shocked that a $3,000 microphone could underwhelm me so. I kept it until 2012, and my only fond memory was a single magical recorded take from a Marshall 4x12 cabinet, captured from six feet away, blending the amp’s roar with the room’s ambiance. Finally in 2012 the U87ai found a new home, but the MXL 2001 stayed. Today, I own five MXL 2001’s, three upgraded with RK-87 capsules and two upgraded with RK-12 capsules from Microphone-Parts.com. Each tells a story of discovery, proving that sometimes, the underdog steals the show.
The MXL 2001 isn’t perfect—(but neither is the U87ai) — it’s a testament to what’s possible when affordability meets ambition. For those starting out or seeking a dependable vocal mic, it’s a worthy contender, ready to capture your sound with surprising heart.
ONE MORE THING
David Royer did a story about modding a 2001 mic with a tube circuit. Instead of modding the capsule he replaced the on board circuits with a tube circuit he designed. The mod became very popular and for a brief time David produced some custom parts and published a power supply build (which fit neatly in an old ammo can). Quietly all these items disappeared from the market and some time later David Royer introduced his Mojave Audio brand, spearheaded by a tube powered LDC made in China known as the MA-200.
AND ONE MORE THING
www.microphone-parts.com in California produces a 34mm capsule called the RK-87. Th RK-87 capsule is made in China but it goes through very rigorous QC by Mic Parts in California. I had a lot of luck with replacing the stock capsule in the MXL 2001 with the RK-87; I hot rodded three MXL 2001 for use on TomToms in my studio drum kit with those Mic Parts capsules. I also hot rodded a pair of MXL 2001 with the RK-12 capsules from Microphone-Parts to use as overheads. The RK-12 is an edge terminated capsule with beautiful high frequency response. Per Mic Parts recommendation I used the stock MXL electronics; the output of these mic’s appeared on lots of my recordings and nobody knew I was using $75 mics with $100 replacement capsules.
Thanks for reading High on Technology, Good Music To You!
