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ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE.
www.audixusa.com
503.682.6933 Fax: [phone]
Audix Corporation 9400 SW Barber St. Wilsonville, OR 97070
ver 1.0 10-15
PRODUCT REGISTRATION: Please register your product online at www.audixusa.com/docs_12/about/product_registration.shtml.
SERVICE AND WARRANTY: The i5, D2, D4, and D6 microphones are under warranty for a period of 5 years and the ADX51 microphone is under warranty for a period of 3 years
to be free of defects in material and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge with proof of
purchase. Audix does not pay or reimburse shipping costs for warranty repairs or returns. The warranty excludes any causes other than manufacturing defects, such as normal wear,
abuse, environmental damage, shipping damage or failure to use or maintain the product per the supplied instructions. No Implied Warranties: All implied warranties, including but
not limited to implied warranties of merchantability and fitness for a particular purpose are hereby excluded. The liability of Audix, if any, for damages relating to allegedly defective
products shall be limited to the actual price paid by Dealer for such products and shall in no event include incidental or consequential damages of any kind. Should your microphone fail
in any way, please contact the Audix Service department at 503.682.6933. A Return Authorization is required before returning any product. OTHER THAN THIS WARRANTY, AUDIX MAKES
NO WARRANTIES, EXPRESS OR IMPLIED, WITH RESPECT TO THE PRODUCTS, THE USE OF THE PRODUCTS, THE PERFORMANCE OF THE PRODUCTS. AUDIX SHALL NOT BE LIABLE FOR
SPECIAL INCIDENTAL, CONSEQUENTIAL, INDIRECT OR SIMILAR DAMAGES ARISING FROM OR BASED ON THE SALE, USE, STORAGE OR DISPOSAL OF THE PRODUCTS, AUDIX’S SERVICE
WORK, BREACH OF WARRANTY, BREACH OF CONTRACT. NEGLIGENCE, OR ANY OTHER THEORY OF LIABILITY, EVEN IF AUDIX HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
SPECIFICATIONS
DP7
i5 D2
D4 D6
Transducer Dynamic VLM Type B Dynamic VLM Type B
Frequency Response 50 Hz - 16 kHz 68 Hz - 18 kHz
Polar Pattern Cardioid Hypercardioid
Output Impedance 150 ohms 280 ohms
Sensitivity 1.5 mV / Pa @ 1k 1.2 mV / Pa @ 1k
Maximum SPL ≥140 dB ≥144 dB
Off-axis rejection ≥23 dB ≥30 dB
Power Requirements None None
Materials / Finish Zinc Alloy / Black
Finish
Black Hard Coat
Weight 250 g / 8.8 oz 250 g / 8.8 oz
Length 141.5 mm / 5.6 in 100 mm / 3.9 in
Dynamic VLM Type D Dynamic VLM Type B
40 Hz - 18 kHz 30 Hz - 15 kHz
Hypercardioid Cardioid
280 ohms 280 ohms
1.4 mV / Pa @ 1k 0.8 mV / Pa @ 1k
≥144 dB ≥144 dB
>20 dB >20 dB
None None
Black Hard Coat Machined Aluminum /
Black Finish
128 g / 4.5 oz 254 g / 8.9 oz
100 mm / 3.9 in 117 mm / 4.6 in
ADX51
Transducer Dynamic VLM Type B Dynamic VLM Type B Dynamic VLM Type D Dynamic VLM Type B
Pre-Polarized Con-
denser
Frequency Response 50 Hz - 16 kHz 68 Hz - 18 kHz 40 Hz - 18 kHz 30 Hz - 15 kHz 40 Hz - 18 kHz
Polar Pattern Cardioid Hypercardioid Hypercardioid Cardioid Cardioid
Output Impedance 150 ohms 280 ohms 280 ohms 280 ohms 100 ohms
Sensitivity 1.5 mV / Pa @ 1k 1.2 mV / Pa @ 1k 1.4 mV / Pa @ 1k 0.8 mV / Pa @ 1k 17 mV / Pa @ 1k
Maximum SPL ≥140 dB ≥144 dB ≥144 dB ≥144 dB ≥132 dB
Off-axis rejection ≥23 dB ≥30 dB >20 dB >20 dB >15 dB
Power Requirements None None None None 9-52 V phantom
Materials / Finish
Zinc Alloy/ Black
Finish
Black Hard Coat Black Hard Coat Black Hard Coat Brass / Black Finish
Weight 250 g / 8.8 oz 250 g / 8.8 oz 128 g / 4.5 oz 254 g / 8.9 oz 184 g / 6.5 oz
Length 141.5 mm / 5.6 in 100 mm / 3.9 in 100 mm / 3.9 in 117 mm / 4.6 in 160 mm / 6.3 in
USER TIPS
T his package is identical to the DP5A with the addition of two ADX51
condensers for overhead miking. With the addition of the overhead mics,
you now have the opportunity to create more depth of field and more
presence within the mix. You have the choice of using both ADX51s for
overheads or one for hi-hat and one for overhead.
ADX51 - As overheads: The most common positioning concept is to keep
the snare as the focal point and move the mics into various left and right
positions equal distance from the snare; 4 feet is a good starting point. For
best results, keep the mics in a vertical position, keeping in mind that you
are not necessarily just miking the cymbals but the whole kit. You will find
after some experimentation that the kick, snare, and overheads will provide
most of your sound while the tom mics are used for sweetening.
ADX51 - One for hi-hat, one for overhead: The ADX51 for high hat should
be placed 2-3 inches above the top cymbal and towards the outside edge.
The overhead mic can be placed overhead above the cymbals, generally
above the rack toms. In the case where there are more cymbals on one side
of the kit than the other, the mic can favor the side with the most cymbals.
i5 - Snare: A good starting point is 2 inches above the rim with the mic
pointing towards the center of the head. For more “rim” sound, pull the
mic closer to the rim. For more resonance and depth of field, pull the mic
farther away from the head. The trick is to find the right balance between
resonance and attack while still controlling bleed from the other drums.
D2 / D4 - Floor Toms: Place the mic about 2 inches above the head and
point the mic across the head towards the center of the drum. This is the
best position to capture the fundamental resonance and decay of the drum
will minimal ring.
Note that you will need the DCLAMP or DFLEX mounts in order to attach the
mics to hand percussion instruments or non-conventional rims.
D6 - Kick Drum: To position the D6, a good starting point is a few inches
inside the port of the front head with the mic pointing off-center and not
directly at the beater. For more attack, move the mic closer towards the
beater. For more bass, pull the mic farther away from the beater.
For more information please visit www.audixusa.com to view our six part
video on “How to Mic Your Kit.”