Professional Drum and
DP7
DP7
LIVE SOUND OR RECORDING
Percussion Mic Package
Whether on stage or in the studio, the DP7 drum pack is the ideal collection of seven
microphones for the standard five piece drum kit. Audix VLM
the transients of the drums at close range while the condensers capture the cymbals
and a stereo image of the entire kit from overhead. This award-winning combination
of microphones, clips and mounting accessories is packaged securely within a rugged
aluminum carrying case.
· Professional set of 7 drum mics for stage or studio
· ADX51 condensers for overheads add spacial dimension
· Recognized industry-wide for exceptional performance and consistency
TM
dynamic mics manage
CLOSE MIKING
The D6 for kick drum and the i5 for snare are must-haves for every drummer. 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. The D2 and D4 are industry
standards for toms and floor toms. Being high SPL dynamic microphones, the D6,
i5, D2 and D4 excel at “close miking”. This miking technique is required in order to
capture the attack and percussive sound of the drum. By having the mic close to the
source of the sound, it helps to isolate and control the sound of each drum.
OVERHEAD MIKING (ambient)
Supporting the idea that “less is more”, many engineers 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, a pre-polarized condenser microphone with a 14mm gold sputtered
diaphragm, is designed 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 the volumes typically generated on stage, it is more
practical and effective to create a blended effect of close miking and a stereo image
of the entire kit from overhead. 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 D2 and
D4 will pick up the attack and overtones of the toms, and the ADX51 overheads will
pick up the hi-hat, cymbals and the ambience of the entire kit. With the DP7, drums
will maintain their sound integrity and critical presence, regardless of the size of the
room and PA system.
INCLUDES
PACKAGED SET OF 7 DRUM MICS
Aluminum Road Case
1 x i5 Snare Mic
2 x D2 Rack Tom Mics
1 x D4 Floor Tom Mic
1 x D6 Kick Drum Mic
2 x ADX51 Overhead Mics
4 x DVICE Rim Mounts
3 x DCLIP Mic Clips
1 x MC1 Mic Clip
2 x WS81C Windscreens
SUPPLIED ACCESSORIES
DVICE - Spring loaded rim mount clamp
MC1 - Nylon mic clip
DCLIP - Heavy duty mic clip provided with
D Series
WS81C - Foam windscreen for reducing wind,
sibilance and pop noise
OPTIONAL ACCESSORIES
DFLEX - All purpose percussion clamp
DCLAMP - Tension rod mic clamp
STANDKD - Adjustable kick drum mic stand
with telescopic boom
CBL20 - 20’ XLR-XLR mic cable
CBLDR25 - 25’ right angle XLR-XLR mic cable
DVICE
MC1
DCLIP
DCLAMP
STANDKDDFLEX
CBL20
CBLDR25WS81C
SPECIFICATIONS
DP7
i5 D2
Transducer Dynamic VLM Type B Dynamic VLM Type B
Transducer
Frequency Response 50 Hz - 16 kHz 68 Hz - 18 kHz
Frequency Response
Polar Pattern Cardioid Hypercardioid
Polar Pattern
Output Impedance 150 ohms 280 ohms
Output Impedance
Sensitivity 1.5 mV / Pa @ 1k 1.2 mV / Pa @ 1k
Sensitivity
Maximum SPL ≥140 dB ≥144 dB
Maximum SPL
Off-axis rejection ≥23 dB ≥30 dB
Off-axis rejection
Power Requirements None None
Power Requirements
Materials / Finish Zinc Alloy / Black
Materials / Finish
Weight 250 g / 8.8 oz 250 g / 8.8 oz
Weight
Length 141.5 mm / 5.6 in 100 mm / 3.9 in
Length
Dynamic VLM Type B Dynamic VLM Type B Dynamic VLM Type D Dynamic VLM Type B
50 Hz - 16 kHz 68 Hz - 18 kHz 40 Hz - 18 kHz 30 Hz - 15 kHz 40 Hz - 18 kHz
Cardioid Hypercardioid Hypercardioid Cardioid Cardioid
150 ohms 280 ohms 280 ohms 280 ohms 100 ohms
1.5 mV / Pa @ 1k 1.2 mV / Pa @ 1k 1.4 mV / Pa @ 1k 0.8 mV / Pa @ 1k 17 mV / Pa @ 1k
≥140 dB ≥144 dB ≥144 dB ≥144 dB ≥132 dB
≥23 dB ≥30 dB >20 dB >20 dB >15 dB
None None None None 9-52 V phantom
Finish
Zinc Alloy/ Black
Finish
250 g / 8.8 oz 250 g / 8.8 oz 128 g / 4.5 oz 254 g / 8.9 oz 184 g / 6.5 oz
141.5
mm / 5.6 in
Black Hard Coat
Black Hard Coat Black Hard Coat Black Hard Coat Brass / Black Finish
100 mm / 3.9 in 100 mm / 3.9 in 117 mm / 4.6 in 160 mm / 6.3 in
USER TIPS
T
his package is identical to the DP5A with the addition of two ADX51
condensers for overhead miking. With the addition of the overhead mics,
you now have the opportunity to create more depth of field and more
presence within the mix. You have the choice of using both ADX51s for
overheads or one for hi-hat and one for overhead.
D4 D6
Dynamic VLM Type D Dynamic VLM Type B
40 Hz - 18 kHz 30 Hz - 15 kHz
Hypercardioid Cardioid
280 ohms 280 ohms
1.4 mV / Pa @ 1k 0.8 mV / Pa @ 1k
≥144 dB ≥144 dB
>20 dB >20 dB
None None
Black Hard Coat Machined Aluminum /
Black Finish
128 g / 4.5 oz 254 g / 8.9 oz
100 mm / 3.9 in 117 mm / 4.6 in
ADX51
Pre-Polarized Condenser
i5 - Snare: A good starting point is 2 inches above the rim with the mic
pointing towards the center of the head. For more “rim” sound, pull the
mic closer to the rim. For more resonance and depth of field, pull the mic
farther away from the head. The trick is to find the right balance between
resonance and attack while still controlling bleed from the other drums.
ADX51 - 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
D2 / D4 - Floor Toms: Place the mic about 2 inches above the head and
point the mic across the head towards the center of the drum. This is the
best position to capture the fundamental resonance and decay of the drum
will minimal ring.
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.
ADX51 - One for hi-hat, one for overhead: The ADX51 for high hat should
be placed 2-3 inches above the top cymbal and towards the outside edge.
The overhead mic can be placed overhead above the cymbals, generally
above the rack toms. In the case where there are more cymbals on one side
Note that you will need the DCLAMP or DFLEX mounts in order to attach the
mics to hand percussion instruments or non-conventional rims.
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. For more bass, pull the mic farther away from the beater.
of the kit than the other, the mic can favor the side with the most cymbals.
For more information please visit www.audixusa.com to view our six part
video on “How to Mic Your Kit.”
PRODUCT REGISTRATION: Please register your product online at www.audixusa.com/docs_12/about/product_registration.shtml.
SERVICE AND WARRANTY:
to be free of defects in material and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge with proof of
purchase. Audix does not pay or reimburse shipping costs for warranty repairs or returns. The warranty excludes any causes other than manufacturing defects, such as normal wear,
abuse, environmental damage, shipping damage or failure to use or maintain the product per the supplied instructions. No Implied Warranties: All implied warranties, including but
not limited to implied warranties of merchantability and fitness for a particular purpose are hereby excluded. The liability of Audix, if any, for damages relating to allegedly defective
products shall be limited to the actual price paid by Dealer for such products and shall in no event include incidental or consequential damages of any kind. Should your microphone fail
in any way, please contact the Audix Service department at 503.682.6933. A Return Authorization is required before returning any product. OTHER THAN THIS WARRANTY, AUDIX MAKES
NO WARRANTIES, EXPRESS OR IMPLIED, WITH RESPECT TO THE PRODUCTS, THE USE OF THE PRODUCTS, THE PERFORMANCE OF THE PRODUCTS. AUDIX SHALL NOT BE LIABLE FOR
SPECIAL INCIDENTAL, CONSEQUENTIAL, INDIRECT OR SIMILAR DAMAGES ARISING FROM OR BASED ON THE SALE, USE, STORAGE OR DISPOSAL OF THE PRODUCTS, AUDIX’S SERVICE
WORK, BREACH OF WARRANTY, BREACH OF CONTRACT. NEGLIGENCE, OR ANY OTHER THEORY OF LIABILITY, EVEN IF AUDIX HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE.
The i5, D2, D4, and D6 microphones are under warranty for a period of 5 years and the ADX51 microphone is under warranty for a period of 3 years
www.audixusa.com
Audix Corporation 9400 SW Barber St. Wilsonville, OR 97070
503.682.6933 Fax: 503.682.7114
ver 4.0 12.17
Loading...