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For a relatively young company in pro audio, Audix have certainly earned their pro audio stripes. The level of recognition and dedicated customer following the company has acquired from their beginnings in 1984 is reflective of their stable, innovative, and evolving pro audio products.
Audix can be credited as pioneering some pretty revered and certainly widely used microphones that regularly grace the stage; the OM5 and D6 being just a couple that immediately spring to mind. It’s no wonder one can expect to see Audix microphones across the wide spectrum of stages, from small local clubs through to large scale arenas.
While world-renowned singer songwriters such as Alanis Morissette and Bonnie Raitt have Audix mics accompanying them on stage, what Audix has become synonymous with over the years is providing some of the punchiest, focused, and detailed drum sounds both on stage and in the studio. It is no wonder that a throng of drumming royalty such as Thomas Lang, Thomas Pridgen, Travis Barker, Todd Sucherman, David Garibaldi, and Stanton Moore relish the numerous Audix mics on their respective setups.
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The wide range of mics within the Audix line cover all matters of options for live and studio situations, but their array of mic packages is something to be marvelled at. I for one can’t think of another mic manufacturer that offers quite so many well presented and thought out packages, ranging from simple entry level four-piece drum mic packs through to the DP7 and the flagship Studio Elite 8.
The DP7, as I’m sure you’ve already deduced, is a seven-piece microphone set, packed with some of Audix’s top-tier microphones. Although the DP7 is a perfect match for a multiple mic capture of a drum kit, the array of included mics lend themselves to multiple other applications and sound sources.
The mics included in the pack are the sought-after D6, the i5, 2x D2, D4, and 2x ADX51, as well as numerous rim mounts, clips, and shock mounts. I must say, the assortment, intended design, and evident durability of the included accessories is pretty impressive, which is often an oversight or just poor construction. But Audix seems to have placed some emphasis and attention to detail on this, which hasn’t gone unnoticed.
There are indeed some worthy mentions in the pack, some of which I’m sure many would already be familiar with, and the D6 is certainly one of those. While this microphone might not present itself as an aesthetic masterpiece, hell does it pack some serious punch! What I immediately like about the D6 is its rather bespoke EQ curve; perfect for low-end-focused sound sources, be it a kick drum, floor tom, bass cab, or the bottom of a Leslie cab.
Very much a “get the job done” type of mic for many a FOH engineer, the D6 is equally at home in the studio environment. Typically requiring less additional processing than many other mics of its type, the D6 brings both presence and low end punch, immediately producing gratifying results. Sure, some may argue that the attack the D6 brings out in a kick drum is a little over pronounced, but this can be easily combated with EQ or, just by moving the mic. If I was in a bind and only had the option of one microphone on the kick, the D6 would be a top contender.
The i5 is marked as the dedicated snare mic within the pack. Its ported head is a little reminiscent of some vintage Sony dynamic mics, just with a more modern housing, which I like. With high SPL handling of over 140dB SPL, a pronounced bottom end capture, and some raised upper-mids and tops, the i5 captures snare drums really nicely, without sounding muddy or too spiky in the top end. Overall, I’d happily throw up the i5 in the studio or on the stage any day of the week.
The mixture of dynamic and condenser microphones within the DP7 offers a wealth of potential options, not just for drum applications but for guitars (both acoustics and amplified cabinets), as well as pianos, brass, bass, and voice. The pair of ADX51s lend themselves to plenty of applications other than a stereo pair of overheads, making this mic pack that much more versatile.
Producing some of the best performing, most purposefully designed mics available today, Audix’s attention to detail, reliability, and overall performance are qualities which permeate throughout their line of microphones, and this rings true with the DP7. With such a fastidious and dedicated team and facility based in Wilsonville, Oregon, it’s no surprise Audix microphones emit this aura of scrupulous design, purpose, and reliability, and being designed, assembled, and tested in the USA, this package delivers bang for buck.
Even just the D6, i5, and ADX51s alone would be enough to get most engineers into a good spot, but being able to have all your bases covered with just one set of microphones is not something to be undersold, but rather underpins Audix’s ethos. I’d be stuck to give you a reason as to why I wouldn’t take the DP7 either into the studio or out on the road. Its versatility and durability alone are worth the price of admission.
Head to Audix for more on their drum packs. For local enquiries, reach out to Production Audio Video Technology.
