User Manual

SPECIFICATIONS:
BPF Series
Application
Features
Transducer Type
Frequency Response
Polar Pattern
Output Impedance
Sensitivity
Maximum SPL
Off-axis rejection
Power Requirements
Housing / Finish
Weight
Lead/Background vocals
Warm, natural sound, car-
dioid pattern for feedback
resistance, well balanced
Dynamic
50 Hz - 16 kHz
Cardioid
250 ohms
1.8 mV / Pa @ 1k
≥138 dB
>20 dB
None
Zinc Alloy /
Black Finish
312 g / 11 ounces
Snare, toms, guitar cabs,
acoustic instruments
Clear, accurate sound
with wide response
Dynamic
55 Hz - 15 kHz
Hypercardioid
580 ohms
2.2 mV / Pa @ 1k
≥137 dB
>20 dB
None
Die Cast Zinc Alloy /
Black Finish
283 g / 10 ounces
Kick drum, oor tom,
djembe, cajon
Punchy low end with
excellent attack
Dynamic
40 Hz - 16 kHz
Hypercardioid
580 ohms
1.2 mV / Pa @ 1k
≥140 dB
>23 dB
None
Die Cast Zinc Alloy /
Black Finish
311 g / 11 ounces
f50
f5 f6
www.audixusa.com
503-682-6933 Fax: [phone]
Audix Corporation 9400 SW Barber St. Wilsonville, OR 97070
ver. 1.0 6/12
LITBPF
MIKING & PLACEMENT
BP5F [1 x f5, 1 x f6, 3 x f50]
f5: The f5 boasts a tight (cardioid) pick-up pattern helping to eliminate sounds on stage from “bleeding” into the microphone. This mic is exceptionally useful with drums
and percussion as it is able to accurately capture the sound of each component of the kit. The f5 is also well-matched for miking guitar cabinets, handling very high
sound pressure levels without distortion.
• Snare: Start with the f5 about 2 inches above the head and aimed toward the center of the drum. For more “rim” effect, the f5 can be aimed less toward the center
and more toward the rim. It is not uncommon for engineers to place the mic nearly right on the drum head to achieve a very tight, cracking sound.
• Toms, congas: Similar to snare. For tighter sound and more attack, place the mic closer to the head. To decrease the decay and overtones, pull the mic further away
from the drum head.
• Guitar cabinets: The f5 can be placed about 1-2 inches from the grill cover at a 90 degree angle pointing directly into the speaker. If the mic is placed closer to the
edge of the speaker higher frequencies will be minimized and a warmer, fatter tone is achieved. To capture more highs, move the mic closer toward the center of the
speaker, avoiding the middle of the speaker.
• Horns: Place the mic within 1-3 inches from the bell, especially when on a stage with drums, bass, guitar, etc. For jazz, classical and music where the stage volume
is lower, the mic can be placed further away for a richer, fuller sound. Allow a distance of 2-3 feet between microphones to avoid phase cancellation.
f6: This drum mic was created to offset instruments with extremely high sound pressure levels by having a low gain stage.
• Kick drums: As a general rule, start with the mic centered inside the middle of the drum and pointed toward the beater. For more attack and less bass boom, move
the mic closer to the beater. For less attack and more bass, move the mic further away from the beater. For kick drums without a port in the front head, place the f6
a few inches from the head for a large dynamic sound.
• Toms: Position the mic 2 inches from the head and point toward the center of the drum.
• Bass cabinets: Position the mic 90 degrees to the grill cloth and 1-2 inches inside the edge of the speaker.
f50: The f50 vocal mic is designed with a cardioid pick-up pattern which reduces sounds from other instruments on stage from “bleeding” into the microphone. It is
important to sing directly into the mic at close proximity (within 2 inches). When using oor monitors, position the microphone parallel to the oor. When using multiple
microphones for live performance, allow a distance of 2-3 feet between mics to avoid phase cancellation.
*View additional miking techniques at www.audixusa.com
**All specications subject to change without notice.
BP7F [3 x if5, 1 x f6, 3 x f50]
See mic specications and tips above.
REGISTER YOUR PRODUCT ONLINE:
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FROM YOUR PHONE:
SERVICE AND WARRANTY
Audix microphones are warranted against manufacturing
defects for a period of: 3 years for condenser microphones
and 5 years for dynamic microphones. Should your
microphone need repair, please contact Audix to obtain Return
Authorization number.
CARE AND MAINTENANCE
Audix microphones are manufactured to exacting specications both for
durability and long term usage. The capsule, however, is a highly sensitive
element and should be handled with care by avoiding extreme temperatures
and moisture, which can adversely affect the sound and performance of
your microphone. When not in use, be sure to store your microphone in the
provided pouch