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Cardioid Condenser Handheld Microphone

U.S. Two-Year Limited End-User Warranty

*Manufacturer's Suggested Retail Price. Actual selling price may vary; please check with an authorized Audio-Technica dealer.

  • Overview
  • Features
  • Specifications
  • Downloads
  • Reviews
  • Q & A

  • Overview

    The new Artist Series vocal condenser microphone is tailored for exacting detail and high-fidelity vocal reproduction. With a condenser design for studio-quality performance, the ATM710 delivers remarkable clarity. The microphone is equipped with an integral 80 Hz hi-pass filter that provides easy switching from a flat frequency response to a low-end roll-off position that reduces the microphone's sensitivity to popping in close vocal use. The ATM710 is also equipped with a switchable 10 dB pad that lowers the microphone's sensitivity, providing higher SPL capability. The microphone’s cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of the desired sound source.
  • Features

    • Excels in venues with controlled stage volume or in-ear monitoring

    • Cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source

    • Superior anti-shock engineering for low handling noise

    • Multi-stage grille design offers excellent protection against plosives and sibilance without compromising high-frequency clarity

    • Condenser design for studio-quality performance

    • Integral 80 Hz HPF switch and 10 dB pad

    • Corrosion-resistant contacts from gold-plated XLRM-type connector

    • Rugged, all-metal design and construction for years of trouble-free use

  • Specifications

    ELEMENTFixed-charge back plate permanently polarized condenser
    LOW FREQUENCY ROLL-OFF80 Hz, 12 dB/octave
    OPEN CIRCUIT SENSITIVITY–40 dB (10.0 mV) re 1V at 1 Pa
    IMPEDANCE200 ohms
    DYNAMIC RANGE (typical)127 dB, 1 kHz at Max SPL
    SIGNAL-TO-NOISE RATIO73 dB, 1 kHz at 1 Pa
    SWITCHESFlat, roll-off; 10 dB pad
    WEIGHT274 g (9.7 oz)
    DIMENSIONS179.0 mm (7.05") long,
    50.0 mm (1.97") diameter
    OUTPUT CONNECTORIntegral 3-pin XLRM-type
    ACCESSORIES FURNISHEDAT8470 Quiet-Flex™ stand clamp for 5/8"-27 threaded stands; 5/8"-27 to 3/8"-16 threaded adapter; soft protective pouch
    Click on the chart to view the larger image

  • Downloads

    ATM710 Specification Sheet (pdf 313.65 KB)
    ATM710 Submittal Sheet (pdf 356.80 KB)
    Optional Windscreens / Mounts
  • Reviews

    An Must have for MC's


    I've used this mic for over 100 shows and it never fails to give excellent quality sound.

    Cleveland, OH, USA

    ATM710 Cardioid Condenser Handheld Microphone

    5.0 1


  • Q & A

    my first phantom stage mic. when i get to close to it, it distorts. it likes me to be about a half inch away but when i need more volume i get closer and sounds bad


    Thank you for your inquiry. Something does not sound right with this. The mic has a max SPL of 148 dB which is greater than a jet engine at 50 meters. You should not be able to distort the mic with your voice. You may want to check your gain stage setting on your sound system, because you may be over driving the input.


    Is the ATM 710 produced in Europe?


    Thank you for your inquiry. Yes it is. Here is a link to AT Europe's website:


    Is this mic a good option for a singing drummer? I´ve heard condenser mics are the way to go ...


    Yes, the ATM710 is a good choice for drummers. As with all microphones, you may want to try them out and see if they will best suit your needs.


    Does the ATM 710 is existing in wireless ?


    Yes, the ATW-T371b transmitter in the 3000 Series utilizes the same element as the ATM710 microphone.


    how to turn on this mic, and do i need to use stereo cable for this mic?


    Being a condenser microphone, it requires phantom power and is a mono microphone.


    How resistent is the ATM710 to Feedback in live applications Unfortunately the prior response didn't really answer my question. I know the basics of how to avoid feedback. PA Speakers are aboout 6 feet in front of the performer. Stage monitor is about 3 feet in front of the performer We are currently using SM 58s. A performer has to be right on top of the mic. My primary reason for considering the ATM710 is the desire to have a microphone that is a little more forgiving i.e. you don't have to be right on top of it. Compared to a dynamic mic like the SM 58, how susestible is the ATM710 to feedback? Same? A little more? Much more. Thank you


    Please contact our Audio Solutions Department at (330) 686-2600 ext 5000 or at for assistance with this.


    This mike is WAY more sensitive than an SM58 - amazingly so. This means you can sing a lower level and stand back further from he mic, but it also means you are more likely to run into feedback problems. If you have a good engineer, you can set this up to have high sensitive and low feedback, however I would not call it forgiving. (worth the effort though) One note - on my voice this mic sounds both fuller and crisper than an SM58 even after adjusting the mix to minimise feedback.


    How resistent is the ATM710 to Feedback in live applications Considering the ATM710 Mic for use on stage in singer songwriter venue with PA and Stage Monitor. How susceptible is the mic to feedback? Have read some good reviews about live sound but none addressed feedback issue.


    Thank you for your inquiry. Feedback, also known as the Larsen effect, occurs when the amplified sound from any loudspeaker reenters the sound system through an open microphone and is amplified again and again, causing a loop. We often tell customers that feedback is not the fault of the microphone because any microphone will feed back given the right conditions (or maybe in this context, wrong conditions). However, there are some steps that you can take to avoid or lessen the likelihood of feedback. Try some of these: •Keep the microphone behind the main loudspeakers to minimize the sound that can reenter the microphone. If the microphone is in front of the speakers, then feedback is nearly guaranteed. You may notice this when a performer or presenter steps out into the crowd and finds themselves in front of the speakers. More often than not the result is that loud, ugly, screeching sound. • This cardioid microphone has its maximum sound rejection at the rear of the mic. Keep monitors or loudspeakers aimed at this area of maximum rejection •Place the microphone close to the sound source. When you reduce the distance between the sound source and the microphone by half, you double the sound pressure level at the microphone. This is an application of the inverse square law. It increases your gain before feedback (i.e., it allows your sound system to produce more SPL before reaching a level that would induce feedback). In other, simpler words, if you move the microphone closer to the sound source (your mouth, for example) the sound will be louder, so you can turn down the volume at your mixer. This will greatly reduce the likelihood of feedback. •Feedback will occur at different frequencies at different volumes. Use an equalizer or the EQ section of your mixer to find the offending frequency and cut back that frequency. There are commercially available feedback eliminators that automatically dampen the frequencies where feedback is occurring. You have to be careful when using these because sometimes they can go too far and notch out frequencies too deeply and make you sound a bit hollow. • The ATM710 has a 10 dB pad. By engaging this pad you make the microphone less sensitive, which may help. Please note you will need to compensate at the PA. Following these steps should help you avoid feedback. But if you continue to run into feedback issues while using your A-T mic, please contact our Audio Solutions Department so we can troubleshoot the problem