Coles Electroacoustics 4040

$1,239.00 Price Tier: Standard

1 Critic Review

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Page last updated May 09, 2026

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We compare 600+ stores and found this item at 1 store. Prices updated May 9, 2026.

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$1,239.00 1 available New

$1,175.00 2 available Used

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Average Price: $1,207

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Price Tier

In the Ribbon Microphones category, Coles Electroacoustics 4040 is priced in the Standard/Professional range. This is quality gear at a fair price point, suitable for beginners, hobbyists, and pros alike.

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Description

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The Coles 4040 is a modern ribbon microphone that marries the classic warmth of vintage ribbon technology with contemporary precision and clarity. Designed for professional studio environments, this microphone is crafted to capture the nuances of any performance, from the delicate overtones of an acoustic guitar to the full-bodied richness of a vocal ensemble. With its exceptionally smooth frequency response, the Coles 4040 stands out in the world of ribbon microphones, making it a preferred choice for audio engineers seeking to elevate their recordings.

The 4040 is engineered to handle high sound pressure levels, ensuring it can capture loud sources without distortion. This makes it versatile enough for a wide range of applications, from drums to brass instruments. Its robust construction is complemented by a sleek design, ensuring both durability and elegance in your studio setup. Whether you’re a seasoned professional or an aspiring musician, the Coles 4040 offers an unparalleled combination of vintage ribbon warmth and modern-day reliability, making it an essential tool in any recording arsenal.

Key Features:

Smooth, extended frequency response
High sound pressure level handling
Classic ribbon microphone design with modern enhancements
Ideal for vocals, acoustic instruments, and more
Durable construction for long-lasting performance
Versatile application across various recording environments

Product specs

Brand	Coles
Model	4040 Ribbon Microphone
Finish	Gold
Year	2010s
Made In	United Kingdom
Categories	Microphones
Electronics	Analog, Passive
Microphone Type	Ribbon
Polar Pattern	Bidirectional
Wired/Wireless	Wired

FAQs

What is the polar pattern of the Coles 4040 microphone?: The Coles 4040 features a bidirectional polar pattern, also known as a figure-8 pattern, which captures sound equally from the front and back while rejecting sound from the sides.
Does the Coles 4040 microphone require phantom power?: No, the Coles 4040 is a passive ribbon microphone and does not require phantom power for operation, which makes it essential to ensure that your preamp or audio interface does not supply phantom power when using this microphone.
What is the frequency response range of the Coles 4040 microphone?: The Coles 4040 has a frequency response range from 30Hz to 20,000Hz, providing a wide bandwidth suitable for capturing detailed audio across various instruments and vocal types.
Is the Coles 4040 suitable for recording vocals and instruments?: Yes, the Coles 4040 is versatile and well-suited for recording both vocals and a wide range of instruments, offering a natural and smooth sound characteristic typical of ribbon microphones.
What are the key sound characteristics of the Coles 4040 ribbon microphone?: The Coles 4040 is known for its warm, natural sound with smooth high-frequency response, making it ideal for capturing the subtle nuances of vocals and instruments without harshness.

Videos

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ZenProAudio

Coles 4038 4040 4030L Ribbon Mic Comparison: ZenPro Audio

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Coles 4040 -Passive Ribbon Microphone - Overview - Review - Samples

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Owner Insights

We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Coles Electroacoustics 4040.

Use cases and applications

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The Coles 4040 is praised for its ability to capture a full kit sound in mono, fitting well into mixes that require wide spacing for other instruments like guitars and keys.
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Comparisons

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Users have compared the Coles 4040 favorably with the Coles 4038, noting that it fits well into a mix and can serve as a primary overhead for a punchy, centered drum sound.
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Setup and maintenance

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Positioning the Coles 4040 just inside the ride cymbal and rotating it towards the drummer has been noted to capture a balanced overhead sound without phase issues.
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Critic Reviews

Ribbon Microphones On Test

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David Gilmour

Guitarist

Pink Floyd

Verified via Soundonsound

Used for Gilmour's guitar on On An Island, as mentioned by sound engineer Andy Jackson in this July 2006 Sound on Sound article.

"Everyone asks what reverbs David uses, and the answer is none! He uses delays, and it's usually around 700 milliseconds or so. That's on his pedalboard, but apart from that there's probably only one or two different distortion boxes and maybe a compressor. It's not that complex — it's just finely tinkered with and he's got some nice guitars and good fingers. The amp was generally an old Fender Tweed Twin Reverb, with a little bit from his Hi-Watts occasionally. When he's recording at home, he just kind of sticks that Sony mic in a non-specific place in front of the speaker and I tried to replicate that in the studio, but it wasn't really working in our room. Chris wanted to stick an SM57 on it, maybe four inches from the grille cloth and a bit off-axis, but then I put a Coles 4040 ribbon mic next to it, dead in the middle of the cone, and we found that mixing that in behind the 57 really worked. What you hear is mainly the 57, but when you bring up the Coles, the sound just goes 'expensive'. Nearly all the guitar I recorded ended up being done like that — you just have to be really careful about the mic positions and make sure both are exactly the same distance from the speaker.

"Some of the guitars would be from David's home recording as he has a similar amp and effects setup at home. In fact on the guitar solo for 'On An Island' where there are two guitars, the first is a Les Paul and the second one a Strat. He recorded the Les Paul at home using the Sony mic and I recorded the Strat in the studio using the SM57 and the Coles ribbon, so if you want to hear how the two approaches compare, that's a good place to do it."

This is restated by Jackson in this interview from Vol. 6, #7 of Resolution Magazine, which reveals that the mic was also used for the On An Island Tour performances at Royal Albert Hall.

Well oddly enough we went through lots of experiments on the last album, and mostly ended up using a 57, rammed right up the speaker, traditional style. I did put an STC 4040, which is the updated 4038, and snuck it quite a long way behind, but it just poshed up the 57, but it was mostly the 57.

And you put them next to each other? Yes, right together. Every time I try splitting it across speakers, it never sounds phase coherent.

And on stage? Oddly enough I ended up adding a 57, it was Colin Norfield who did FOH, traditionally uses the Shure KSM32s which are nice, but just because of the experience on the album, at the Albert Hall I put up the same thing, the 57 and the STC as well, and then the rest of the tour it was just a 57, which was really helpful: there's something about combining the mics that gives you something you can't make out of any one of them, it covers all the bases.