When it comes to drum and percussion microphones, Audix is the industry leader. These high precision instrument microphones are designed to fill the specific needs of artists and engineers for both studio and live applications.
The Audix DP Series QUAD pack is the simplest and most effective combination of microphones that will allow you to capture the depth and imaging of a full drum kit. With kick, snare and two overheads, the QUAD incorporates the best of two miking techniques: close miking and overhead (ambient) miking.
Close Miking: The D6 for kick drum and the i5 for snare are considered the two microphones every drummer must have. The kick and snare are considered the core of any drum kit and the foundation for every groove. Close miking insures that they will be captured in the mix. If either the kick or the snare is unable to be heard, there is simply no groove. Being high SPL dynamic microphones, the D6 and i5 excel at close mikingŒ. This miking technique is required in order to capture the attack and percussive sound of the drum. Also, by having the mic close to the source of the sound, it helps to isolate the sound of each drum and separate it from the rest of the kit.
Overhead (ambient) miking: Supporting the idea that less is moreŒ, there are many engineers who will use just two overhead mics to capture the natural sound of the complete drum kit. With two overhead mics, positioned correctly, it is absolutely true that you can capture the transients, tonality and balance of the kit in a completely phase-coherent manner. The ADX51, which is a pre-polarized condenser microphone with a 14mm gold sputtered diaphragm, is designed specifically with overhead applications in mind. Due to its cardioid pickup pattern, high sensitivity and slim pencil design, the two ADX51 mics can be easily positioned overhead to provide a nice stereo image of the entire drum kit.
The Blend: With contemporary music and with the volumes typically generated on stage, it is more practical and effective to create a blended effect of close miking and overhead miking ¤ the exact intent of the DP-QUAD. The D6 will help provide the earthshaking lows and the attack of the kick; the i5 will reinforce the depth and crack of the snare; the overheads will pick up the high-hat, tom fills, cymbals and the ambiance of the entire kit. With the DP-QUAD, drums will maintain their sound integrity and critical presence, regardless of the size of the room and PA system.
What’s In The Box
1 x i5 snare mic
1 x D6 kick mic
2 x ADX51 overhead mics
1 x DVICE rim mount with MC1 mic clip
3 x DCLIP mic clips
2 x WS81C windscreens
– – – – – – – – – – – –
Audix i5 snare / tom mic
Polar Pattern Cardioid
Frequency Response 50 Hz – 16 kHz
Impedence 150 ohms
Sensitivity @1k 1.5 mV/Pa
Audix d6 bass drum mic
Polar Pattern Cardioid
Frequency Response 30Hz – 15kHz
Impedance 200 ohms
Sensitivity 80Hz 0.8 mV/Pa
Audix ADX51 overhead mics
Type Pre-polarized Condenser
Polar Pattern Cardioid
Frequency Response 40Hz – 18kHz
Impedance 100 Ohms
Sensitivity 1 mV/Pa @ 1kHz
The following are some ideas as to how the microphones in the pack interact with each other.
DP-QUAD [1 x i5, 1 x D6, 2 x ADX51]: This package is ideal for literally any 5 piece kit for stage or recording.
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 head. For more bass, pull the
mic away from the beater head.
i5 – Snare: As a general rule, the i5 is meant to be close miked. A good starting point is 2 inches above the rim with the mic pointing
towards the center of the head. For more rimŒ 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.
ADX51s – As 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.
Note: To pick up more of the high-hat, you can change the balance of the mics by pulling the mic on the hi-hat side of your kit
closer towards the high hat.
For more tips on miking your kit, please refer to the Audix DVD on How to Mic your DrumsŒ or visit the Audix website to view the