User Manual

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 3.0 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 SCX1C / SCX1HC microphones are 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
DP ELITE 8
i5 D2 D4 D6
SCX1C/
SCX1HC
Transducer Dynamic VLM Type B Dynamic VLM Type B Dynamic VLM Type D Dynamic VLM Type B Pre-Polarized Condenser
Frequency Response 50 Hz - 16 kHz 68 Hz - 18 kHz 40 Hz - 18 kHz 30 Hz - 15 kHz 40 Hz - 20 kHz
Polar Pattern Cardioid Hypercardioid Hypercardioid Cardioid Cardioid, Hypercardioid
Output Impedance 150 ohms 280 ohms 280 ohms 280 ohms 200 ohms
Sensitivity 1.5 mV / Pa @ 1k 1.2 mV / Pa @ 1k 1.4 mV / Pa @ 1k 0.8 mV / Pa @ 1k 26mV (C), 17 mV (HC) /
Pa @ 1k
Maximum SPL ≥140 dB ≥144 dB ≥144 dB ≥144 dB ≥130 dB
Off-axis rejection ≥23 dB ≥30 dB >20 dB >20 dB >120 dB
Power Requirements None None None None 48-52 V phantom
Materials / Finish
Zinc Alloy/ Black
Finish
Black Hard Coat Black Hard Coat Black Hard Coat
Machined Brass / Black
Finish
Weight 250 g / 8.8 oz 250 g / 8.8 oz 128 g / 4.5 oz 254 g / 8.9oz 114 g / 4 oz
Length 141.5 mm / 5.6 in 100 mm / 3.9 in 100 mm / 3.9 in 117 mm / 4.6 in 104 mm / 4.1 in
USER TIPS
This package is identical to the DP5A with the addition of three SCX series
microphones, two SCX1C condenser for overheads and one SCX1HC for hi-
hat. The SCX series microphones are very sensitive, have a low noise floor
and capture a wide sound field making them excellent for studio as well
as live.
SCX1C - 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. The SCX1C
is extremely sensitive so do not be afraid to pick up a majority of the sound
through the overheads if the stage volume will allow it.
SCX1HC - Hi-hat: The SCX1HC is extremely sensitive. Be sure the mic is up
and away from the area where the cymbals open and close, otherwise the
mic will pick up wind noise and sound harsh. Careful positioning will isolate
the hi-hat from the rest of the kit and make it easier to feature it in the mix.
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
back closer to the rim. For more resonance and depth of field, pull the mic
further 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: The DCLAMP or DFLEX mounts will be needed 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. A great
accessory keeping the D6 secure and in position is the STANDKD.
For more information please visit www.audixusa.com to view our six part
video on “How to Mic Your Kit.”