Specifications subject to change without notice. Audix Corporation PO Box 4010, Wilsonville, OR 97070 . In Canada, Cabletek Electronics LTD, 604-942-1001 fax 604-942-1010 ®Audix Corporation 2003. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation. CALL: 503-682-6933 • FAX: 503-682-7114 • www.audixusacom condenser microphones the Micros series dynamic instrument microphones premium vocal microphones Summer, 2003
6
Embed
dynamic instrument microphones premium vocal microphonesratsound.com/dealer/audix_sept_2003/audix_catalog_2003.pdf · John Patitucci Airto Luis Conte Wuv P.O.D. David Garibaldi Tower
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
Specifications subject to change without notice.
Audix Corporation PO Box 4010, Wilsonville, OR 97070 . In Canada, Cabletek Electronics LTD, 604-942-1001 fax 604-942-1010 ®Audix Corporation 2003. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation.
c o n d e n s e r m i c r o p h o n e s t h e M i c r o s s e r i e s
d y n a m i c i n s t r u m e n t m i c r o p h o n e s p r e m i u m v o c a l m i c r o p h o n e s
Summer, 2003
C l e a r , n a t u r a l , r u g g e d a n d f e e d b a c k r e s i s t a n t
VX-10The VX-10 microphone providesstudio quality sound on stage. The VX-10 is ideally suited forlead vocals, especially in conjunc-tion with in-ear monitors. A truecondenser microphone requiring48-52 volts of phantom power,the VX10 provides a uniform car-dioid pick-up pattern throughoutit's entire frequency range of40Hz-20kHz.
While the VX-10 is designed toprovide a pristine vocal soundwith unrivaled transparency, itwill still handle high sound pres-sure levels and offer excellentrejection of ambient stage noise.
OM-2High performance at a breakthrough priceNow established as one of the most popular vocal micro-phones in the industry, the OM-2 is an all purpose micro-phone that sounds great on just about everything. TheOM-2 incorporates many of the performance characteristicsthat have become hallmarks of all Audix microphones; arich, natural vocal sound with exceptional clarity and detail;superior off-axis rejection; and the ability to perform athigh levels without feedback or distortion. Designed with a bit of added warmth in the lower mid-bass and a slight presence boost in the mid-range, theOM-2 sounds exceptionally good on a small to mid-size PAwithout having to add EQ.
PERFORMANCE IS EVERYTHING
Audix has lived by this motto since its humblebeginnings in 1984!The passion that goes into designing and building
Audix vocal microphones is evident to those per-formers and engineers looking to push the limits of
their performance.
To this end, Audix continues to set standards of excellence,to raise the bar, and to become the choice of today's hottestperformers.
From country to jazz, pop to alternative, gospel to hip-hop,Audix microphones are built for a lifetime of performance.
Our formula is simple:• Clear, accurate, natural sound reproduction• Exceptional levels of gain before feedback• High sound pressure levels without distortion• Reliability, consistency, and durability
The Right Mic for the Right Job
Whether you’re on a world tour, playing a small club, orrecording your next demo, Audix makes the right mic for you.Now, you can choose a microphone based on the type of musicyou play, vocal style, size of the group, stage volume, andtype of PA equipment. Audix microphones will give you thefreedom to optimize your performance each and every time.
OM-11Classic Rock ‘n Roll.
The OM-11 is a re-issue of the original flagship of the OMseries, the OM1, which was first produced in 1985. The OM-11is machined from solid brass with a unique two-stage designand when it comes to handling noise, the OM-11 is excep-tionally quiet.
Excellent for lead vocals. Full bodied vocal sound withpunchy mid-range presence.
OM-3Excellent all purpose vocal microphoneWhen compared to the OM-2, the OM-3 has slightly less bassproximity and will provide higher gain before feedback in themonitors, particular on a medium to large size PA system.First produced in 1989, the OM-3 quickly gained a very high level ofacceptance with audio professionals who found that this micseriously out-performed other popular microphones in many areas,including gain before feedback and off-axis rejection. Soundcompanies and high profile vocalists continue to choose the OM-3because of its overall natural sound quality and consistency.
OM-6Full, rich sound. Intensely accurateThe OM-6 has also met with critical acclaim in the world ofpro sound. Many engineers and artists consider the OM-6 tobe the very best dynamic microphone ever produced. Unlikethe OM-5 which has a natural attenuation of bassfrequencies (below 100 Hz), the OM-6 is a very full rangemicrophone capable of reproducing tones 40 Hz.Characterized as being extremely pure and accurate, theOM-6 has a more “studio-like” sound and appeals tovocalists who want minimal coloration.
OM-7No competition when it comes to gain before feedback!Having become a standard in the touring rock concertscene, the OM-7 is considered to provide the highest gainbefore feedback of any microphone on the market,especially in the monitor system. The unconventional lowoutput gain stage of the OM-7 acts as a natural pad,allowing for incredible sound pressure levels to beachieved during live performances, without sacrificingtonal quality.
OM-5High output, supreme vocal presenceThe OM-5 received critical acclaim when it was first introduced in1995 and was recognized in the industry as a truly remarkableperformance vocal microphone. It appeared in many high levelconcert performances (Alanis Morissette, Foo Fighters, Bonnie Raitt,George Strait), it continues to be a standard on many TV shows andmusic videos. The OM-5 is attenuated in the lower mid-bass with a slight presencepeak in the upper mid-range. It sounds excellent on full range PAsystems and is generally characterized as being natural, articulate,and able to cut through the stage mix. An exceptionally tightpattern mic, the OM-5 allows for very high level monitor gainwithout feedback. The OM-5 is also successful at reducing the soundof guitar and drums coming through the vocal mix, a real plus forboth the performer and engineer.
“Finally, a live vocal mic that is smooth, spectrum wide!The VX-10 is now ahead of the pack.” —Paul Mitchell,FOH Jonatha Brooke, Joe Sample, The Crusaders
AlanisMorissette
KittieThe
DonnasJimmy
Eat WorldBlink182American
Hi-FiBonnieRaitt
AniDifranco
Crosby Stillsand Nash
LucindaWilliams
New FoundGlory
GeorgeStrait
“If you want to get the ultimate vocal blendon stage, you can't beat the OM-6”—Rance Caldwell, Monitors for Crosby, Stills, and Nash
“The OM-series mics offer an unmatchedcombination of feedback stability and sound quality”—Dave Rat, Rat SoundRed Hot Chili Peppers, Blink 182, Foo Fighters, Bad Religion, NewFound Glory, Jimmy Eat World
“The OM-5 is just like Bonnie–classy,consistent and rock solid every time”—Paul Middleton, FOH Bonnie Raitt
“For versatility and superiorsound in a lower priced dynamicmicrophone, the Audix OM2 isour pick of the litter!”Electronic Musician
www.audixusacom
D-6Kick drumThe latest addition to the D-series, the long awaited D-6will not disappoint anyone looking for a huge, clean,undistorted kick drum sound. The D6 is offers acombination of ground-shaking lows along with clarityand attack. Stylishly machined by Audix from a solid bar of aircraftaluminum, the D6 has a frequency response of 30 Hz - 15kHz and a cardioid pick-up pattern. The D6 is designed tosound good in any position and it is not dependent onfinding the “sweet spot” of the drum. The capsule for the D6 features the same legendary VLMtechnology that has made the D series percussion andinstrument microphones very popular for today's livesound stages and recording studios. Also available in spe-cial nickel finish (D6-Nickel).
“The D4 has been astaple in our shows foryears now. I've used itfor all my toms and otherpercussion applications.We've also added the D6because we have manyinstruments with frequencyranges that go beyond theaverage kick drum."Ross Humphrey,sound supervisor, Blue Man Group
Extremely accurate, precision machined, lightweight,handle very high sound pressure levels without distorting.
D-ClampTension rod mic clampCompanion product tothe D-vice specificallydesigned for percussioninstruments.
THE EVOLUTION CONTINUES
With the success and acceptance of the D-series microphones, and with thenewly added D6 kick drum mic, Audix continues to be the recognized leader inpercussion and instrument microphones. The D-Series are compact and light-
weight, yet feature full size diaphragms.By employing an exclusive Sub-ImpulseTechnology, the D-Series microphoneswill pick up transients and nuances which substantially contribute to the accuracy andrichness of the sound. The low mass of the diaphragm, coupled with a sensitive inter-nal air suspension, allows the outer wall of the diaphragm to react to sound waves,harmonics, and sub-harmonics more quickly than other microphones. The result is amore precise sampling of the original sound. A tight hypercardioid pickup patternallows clear definition of sound without the feedback problem commonly associatedwith placing multiple mics in close proximity.
The Audix D6: “Awesome, right out of the box”—Don “Turk” Schell, FOH Lucinda Williams, Ryan Adams
“Buck Dharma and Iconsider the Audix D3 tobe the new standardmicrophone for mikingguitar amps–Both onstage and in the studio.”—Steve “Woody” LaCerra
FOH, Blue Oyster Cult
D-1Snare, Bongos, Hi-hat, CowbellThe D1 is characterized with natural articulation andattack in the upper mid-range and will complementinstruments requiring crisp, clean reproduction. The D1requires little or no EQ and provides great results whenclose miking techniques are employed.
D-2Rack toms, congas, floor toms, guitar cabs, saxophoneConsidered to be “the ultimate tom mic,” the D2 isdesigned to capture the warmth and punch of instrumentswith upper mid bass. The D2 is the perfect combination ofattack and decay and can be successfully used with verylittle or no gating.
D-3Guitar cabs, Timbales, Trumpet, Piccolo snare, Leslie top The D3 employs a unique low output gain stage whichacts as a natural pad in order to compensate forinstruments that would normally overload most mics.Characterized with a very flat and accurate frequencyresponse, the D3 is perfect for extremely high SPLinstruments with short blasts of percussive sound.
D-4Floor toms, Kick, Bass cabs, Djembe, Piano,Saxophone, Clarinet, Trombone, Flute, Banjo,Fiddle, Leslie bottomThe D4 utilizes a new capsule design enabling it tocapture instruments with extended frequencies below100Hz. In fact, the D4 extends down below 40Hz! Aremarkable feat for a microphone of this size andversatility. The D4 has not only great low end response,but is a full-range microphone with extreme clarity anddetail. This makes the D4 the most versatile instrumentmicrophone of all the D series.
JohnPatitucci
Airto
LuisConte
WuvP.O.D.
David GaribaldiTower of Power
Jen LoweAcres
HilaryJones
JoeyHeredia
PonchoSanchez
“If you want a painless way to get an absolutelyrocking professional sound with a ton of seriousbeef on the bottom and that Lars-type “click” ontop, then this is the stuff.”Mark Parsons, D6 reviewModern Drummer Magazine, Apr. ‘03
D-ViceSpring loaded rim mount clampRim mount gooseneck mic holder. Thispatented clip eliminates the need for bulkymic stands. Features a spring loaded mountingsystem that is quick and simple to use.
www.audixusacom
Erik HargroveJames Brown
Cyrus BalookiNew Found Glory
Walfredo Reyes, JrSteve Winwood
Gregg Errico Richie “Gajate” Garcia Herman Matthews III Vicki RandleTonight Show Band
DP-182Named after one of the mostinfluential drummers of our day,the Travis Barker road kitconsists of the D6 kick drummic (in a special nickel finish)and two Micro-D miniaturecondenser clip on mics.
Five Professional Percussion and instrumentMic Packages for stage and studio When it comes to drum and percussion microphones, Audix is clearly theindustry leader. These application-specific microphones aredesigned to fill the specific needs of artists and engi-neers for both studio and live sound.
Each D-series microphone consists of a VLM (verylow mass) capsule housed in a precision-machinedlightweight aluminum body. The compact size, inconjunction with the patented D-vice gooseneck rimmount clip, allows for quick and easy set up and per-fect mic placement. The ADX-51 (DP3), SCX-1c and SCX1-hc (DP-Elite) are excellent condenser microphones for over-heads, cymbals, and a wide variety of acoustic instruments.
FUSION 41x F12 kick drum mic3x F10 snare/tom mics
D6-NickelKick drum.The new standard in kick drum mics. Hugesound, great tone, awesome attack.
Micro-DSnare, toms.Miniature low profile condenser mic withpowerful sound. Easy to mount with springtension D-Vice clip.
Two packaged sets of modestly priceddrum and percussion microphones
The Fusion series mics now make it possible for everyone to affordAudix quality. Consisting of three models, the Fusionmicrophones, can effectively capture the sounds of any drumand percussion instruments.
The F10 and F12 dynamics are housed in a durable cast zincbody, with Hi SPL capsules and steel mesh grills. The F15electret condenser microphone is designed to capture thenuances of cymbals, goodie table, and zone ambience.
Built to withstand the rigors of live stage applica-tions, the Fusions series mics can also successfullybe used in a recording studio environment.
ADX-51Overheads, hi-hat, cymbals, toys,acoustic instruments, group vocalsThe ADX-51 is an affordable pre-polarizedcondenser designed to handle a widevariety of live and studio applications.Characterized with a smooth uniformresponse over a frequency range of 40Hz -20kHz , The ADX-51 is very versatile andcan be used for a variety of instruments aswell as overheads. The ADX-51 has theadded value of a 10dB pad and a bass roll-off switch.
CX-111Vocals, guitar cabs, bass, acousticinstrumentsThe CX-111 is a large diaphragm studiocondenser with the added features of a bassroll-off and 10 dB pad. Designed with asturdy open cell steel mesh grill and theability to handle sound pressure levels of145 dB, the CX-111 in an excellent choicefor live sound reinforcement as well asstudio applications. In addition to vocals,the CX-111 is outstanding for piano,saxophone, horns, guitar cabs, leslie, drumoverheads, and percussion toys.
ADX-60Boundary microphone for plays, conferencing, pianoThe ADX-60 is a pre-polarized condenser boundarymicrophone capable of very wide variety of applications.With a frequency range of 50Hz - 18kHz, the ADX-60provides a warm, full-bodied sound not typical ofmicrophones this size. Housed in a heavy-duty zinc die-cast base with a low reflective black finish, the ADX-60operates on phantom power and is supplied with an in-line preamplifier and 25ft of microphone cable. Aboundary microphone is unique in that it picks up soundsthat are parallel to the surface. This allows the ADX-60 tobe placed on surfaces such as floors, the inside of apiano lid, or the inside of a bass drum. Phantom power of 9-52 volts is required.
SCX-25Studio vocals, piano, sax, acoustic guitarThe SCX-25 is a true condenser microphonewith an elegant design and a patentedcapsule suspension system. Uniquely shockmounted within an intricate machinedbrass ring, the SCX25 capsule is completelyisolated from the mic body and theelectronics. By successfully minimizingacoustic reflections and diffractions, theSCX-25 delivers a pure, open-air soundunlike any other microphone. Featuresinclude a wide frequency range of 20-20k,one-inch gold vapor diaphragm, black satinmachined brass housing, very low profile.Operation requires 48-52 volts phantompower.
www.audixusacom
ADX-5This micro-size omni-directional condenser lavalier micro-phone is excellent for wireless applications for TV broad-casts and video. Comes in black or beige with a 6' cableto bare wire (or a variety of connectors). Phantom poweris required.
ADX-10The ADX-10 is a mini-size cardioid condenser lavalier witha studio quality sound. The stock model includes a 6'cable which terminates to a 3 pin mini-XLR. A phantompower adapter (APS-910) is also included. Other cableconfigurations are also available for wireless applications.Phantom power is required.
ADX-112/118Gooseneck microphonesThese pre-polarized condensergooseneck microphones arewell suited for professionalinstallations includingconferencing, houses ofworship, meetings, and publicaddress.Both models (12" and 18") aredesigned with flexible gooseneck extensions in order that themicrophone be easily and quickly adjusted for height anddistance. Available in both cardioid and hypercardioid models.Phantom power of 9-52 volts is required.
ATS-10 Heavy duty, shock absorbant table stand forADX112/118 with lighted on-off switch.
M1244/1245Overheads, percussion, acoustic instruments, choirStudio quality condenser microphones in a miniaturizedpackage. Available with two types of capsules–(cardioid, hyper-cardioid). The M1244 is intended for high-SPL, close miking applications(drums, brass, sound effects). The M1245 is intended for choir miking, podium, acousticguitar, piano, strings.Both mics are available with a variety of clips and accessoriesfor all types of miking solutions. phantom power of 48-52 volts required.
M1290Acoustic instruments, zone miking, field recordingThe M1290 is a versatile studio quality “pencil” condenser withan extremely small footprint (3.5 inches long). With theelectronics based on topology of the SCX series, the M1290miniaturized preamp is 200 Ohm balanced, stable, and has avery wide dynamic range. The M1290, also available with fourtypes of capsules–(cardioid,hyper-cardioid, omni,shotgun), has animpressive full rangefrequency response of 40Hz - 20kHz. Phantompower of 48-52 voltsis required.
Introducing the Micros. World’ssmallest condenser microphones withintegrated preamp and detachablecable. Shown actual size.
“The SCX-25 is the best piano mic you canget–I get compliments after every show!”
—Tony Romano, Front of House, Diana Krall
ADX-40Hanging choir microphoneThe ADX-40 is a low profile hanging microphone withextremely high sensitivity and range for choirs, plays,and musical groups. The microphone is available inboth black and white and with either cardioid andhypercardioid capsules.Each mic includes an attached 25' cable and a phantompower adapter (APS-910).Phantom power of 9-52 volts is required.
“We found the SCX-25 to be a usefulmic with a size that fits into many arestricted area....Sonically it (SCX-25)behaves like a mic twice its size, acondenser with solid highs but noexcessive top, and with a robustmidrange and upper bass range thatbelie its visual appearance.”
Recording Magazine, Aug. ‘02
The Micros
STEREOMATCHED WWGGG
Models SCX-25, CX111 andSCX-1 are all available instereo matched pairs withfrequency response curvesmatched to within 1 dB.
UEM-81c / UEM-81sThe UEM-81C is a "AA" battery operated cardioid condenser that can be usedfor a wide variety of live sound and studio applications including speech,choirs, plays, drum overheads, and acoustic instruments. The UEM-81S is a shotgun microphone system that also includes the inter-changeable cardioid capsule. It is excellent for video and distance miking. Other features (for both mics) include on-off switch, and a bass roll-offswitch to help minimize boominess and add clarity. Mic cable, windscreen,and stand adapter are provided accessories.
SCX-oneAcoustic instruments,overheads, choir miking, hi-hatThe SCX-1 is a high quality transformerlessstudio condenser microphone that has beenproven to have exceptional performancevalue in live sound and studio applications.The SCX-1 is available with a variety ofinterchangeable capsules: cardioid,hypercardioid, and omni-directional. A true condenser requiring phantom powerof 48 - 52 Volts, the SCX-1 is highlysensitive as an overhead or room ambientmicrophone and will provide audio detailbeyond your expectations.