DP7 Drum Mic Kit

AUDIX DRUM MICS
PRICES
DP-7 Drum Mic Kit £893
MICROPHONE
TYPES
Dynamic and
Condenser
CASING MATERIAL
Aluminium/steel/zinc
alloy/brass
FREQUENCY
RANGE
30Hz to 18KHz
REQUIRES POWER
Dynamics, no;
Condensers, yes
CONNECTOR
Standard XLR socket
LEADS
None supplied
CONTACT
SCV London Ltd
40 Chigwell Lane
Oakwood Hill Industrial
Estate
Loughton
Essex
IG10 3NY
Telephone
0208 418 1470
Websites
www.scvlondon.co.uk
www.audix.com
ESSENTIAL SPEC
94 RHYTHM MARCH 2008
EX
CL
US
IVE
£893 Microphone heavyweight Audix pitches in with a
new seven-piece drum mic kit. Adam Jones judges the results
The two condensers
let the cymbals cut
while delivering body
and tonality
A
udix has been in the microphone
business for 24 years and is based in
Oregon, USA. The majority of Audix’s
microphones are made in-house,
which is where the DP-7 drum mic kit on review
began life. The kit also boasts the distinction of
being judged the best drum microphone
product at the Musikmesse International Press
Awards at the 2007 Frankfurt Music Fair.
Build
The DP-7 kit consists of seven microphones –
five dynamic models tailored to capture the
frequency ranges of snare, toms, fl oor toms
and bass drum, and a pair of condenser mics
for overhead and hi-hat duties. The mics are
supplied in a custom-fit flight case, which also
houses four D-Vice clip-on mic holders that
clamp to the rim of a drum. The dynamic mics
have been primarily designed for live use and
are sturdily constructed to withstand the
rigours of touring.
Catering for the bass drum is Audix’s D6 mic,
a proven low-end mic that is equally at home in
front of a bass cab as it is a bass drum. Cardioid
in pattern, its frequency response ranges from
30Hz to 15KHz. Its casing is machined from
solid aluminium and is finished in an anodised
black coating.
Audix’s new i5 mic replaces the old D1 snare
mic in the kit. The new mic is smaller than the
D1, making it easier to position over the snare.
It still wouldn’t qualify as being compact
though, as it is only marginally smaller than a
typical handheld vocal mic. Again cardioid in
pattern, it is tuned to capture frequencies
between 50Hz and 16KHz. The casing is made
from cast zinc alloy and the mic can withstand
sound pressure in excess of 140 decibels (for
instance, a snare drum being rim-shotted by a
2B stick at point blank range).
Two D2 mics are supplied for the toms. They
are small and stubby in comparison to the i-5
mic, and as such are a less obtrusive proposition
to the player. Like the D6, the casing is milled
from a single block of aluminium while a steel
grill protects the business end. Hypercardioid in
pattern (so with a narrower capture area), the
frequency response is 44Hz to 18KHz. The single
D4 floor tom mic is physically very similar to the
D2, being virtually identical in proportions. Also
hypercardioid in pattern, its frequency response
reaches a little lower than that of the D2, being
40Hz to 18KHz.
Two ADX-51 cardioid condenser mics are
supplied for conveying the cymbal sounds.
While being engineered differently from, and
being a good deal more sensitive than, the
dynamic models, the ADX-51s are still
constructed to the same high standard. Being
condenser mics, they require Phantom Power
from the mixing desk to operate, and their
frequency response ranges from 40Hz to
18KHz, to 150Hz to 18KHz with the low cut fi lter
engaged.
Hands On
The venue I tested the mics at was not ideal,
being small with a low ceiling, but it did contain
a full PA rig. I was ably assisted by Dan West,
one of South West London’s more gifted
drummers. The D6 performed at its strongest
when Dan was giving his pedal really positive
kicks – anything too subtle lacked attack.
Due to the size of the venue and the volume
of Dan’s snare, the i-5 mic was barely dialled in
at the mixing desk. What it did reproduce
suggests that it would have little trouble in
placing the snare in a full-on mix in a big venue.
The D2s and D4 were at pretty much normal
levels in the mix and gave
strong performances.
Experimenting with placing
them above and below the
toms brought interesting
variations in the amount of
resonance and presence the
drums conveyed.
Above the cymbals the two
condensers gave typically crisp yet
warm responses, letting the cymbals
cut while still delivering body and tonality.
Verdict
These mics would be at their best in large
venues and loud onstage scenarios, where
clarity is required. They would also seem to
favour drummers who supply a strong incident
signal (that is, give it some welly), so if you play
with brushes behind a singer with an acoustic
guitar, then they are not going to be ideal. If,
however, you like to rock and have a decent PA
rig at your disposal (very important) then they
will doubtless give you years of service.
Rating ✪✪✪✪✪
D-VICE CLIP-ON
mic holders clamp to the
rim of your drums
RHY148.gear_audix 94RHY148.gear_audix 94 25/1/08 17:20:4225/1/08 17:20:42