Drum Microphone Packs
FP4
PACKAGED SET OF 4 DRUM MICS
Aluminum road case
2 x f2 rack toms, oor tom mics
1 x f5 snare mic
1 x f6 kick drum mic
3 x DCLIP mic clips
1 x MC1 mic clip
FP5
PACKAGED SET OF 5 DRUM MICS
Aluminum road case
3 x f2 rack toms, oor tom mics
1 x f5 snare mic
1 x f6 kick drum mic
4 x DCLIP mic clips
1 x MC1 mic clip
Fusion Series
PRE-PACKAGED SETS OF HIGH QUALITY DRUM AND PERCUSSION MICROPHONES
Audix has revolutionized drum and percussion miking by designing specic mics for specic
instruments. With the introduction of the new Fusion series, Audix has designed three
attractively priced packages for today’s up and coming professionals.
Each of the Fusion Series packs contain a combination of f2, f5, f6 dynamic microphones
and f9 condenser microphones. The f5 is tuned for snare drum and can also be used for
bongos, timbales, guitar cabs, and general purpose acoustic instruments; the f2 is suited
for rack toms, oor tom, congas, djembe, bongos and timbales, bass cabs, and brass;
the f6, with its extended bass response, is designed for kick drum, cajon, and other low
frequency instruments; the f9 condenser microphones, which require 12-48 volts phantom
power, are perfect for overheads, cymbals, high hat, goodie table, and acoustic instruments.
Built to withstand the rigors of live stage applications, the Fusion series mics are also
excellent for recording a wide variety of drums, percussion, and acoustic instruments.
FP7
PACKAGED SET OF 7 DRUM MICS
Aluminum road case
3 x f2 rack toms, oor tom mics
1 x f5 snare mic
1 x f6 kick drum mic
2 x f9 overheads, high hat mics
6 x DCLIP mic clips
1 x MC1 mic clip
FP4 FP5 FP7
SPECIFICATIONS:
Fusion Series
Application
Features
Transducer Type
Frequency Response
Polar Pattern
Output Impedance
Sensitivity
Maximum SPL
Off-axis rejection
Power Requirements
Housing / Finish
Weight
F2
Rack toms, oor tom, congas,
djembe, bongos and timbales,
bass cabs, and brass
Tailored frequency response,
upper mid-range attack
and clarity
Dynamic
52 Hz - 15 kHz
Hypercardioid
580 ohms
2 mV / Pa @ 1k
≥139 dB
>20 dB
None
Cast Zinc Alloy /
Black Coat
247 g / 8.7 ounces
F5
Snare drum, bongos, timbales,
guitar cabs, and general purpose
acoustic instruments
Tailored frequency response,
upper mid-range attack
and clarity
Dynamic
55 Hz - 15 kHz
Hypercardioid
580 ohms
2.2 mV / Pa @ 1k
≥137 dB
>20 dB
None
Cast Zinc Alloy /
Black Coat
283 g / 10 ounces
F6
Kick drum, cajon, and other
low frequency instruments
Tailored frequency response,
low-end punch and
mid-range clarity
Dynamic
40 Hz - 16 kHz
Hypercardioid
580 ohms
0.6 mV / Pa @ 1k
≥140 dB
>23 dB
None
Cast Zinc Alloy /
Black Coat
311 g / 11 ounces
USER TIPS:
The f2, f6, and f9 microphones are supplied with the DCLIP, a heavy duty nylon stand adapter with snap-to-t design; the f5 is supplies with the
MC1 mic clip. Each clip comes with a 3/8” thread adapter which is mainly used with European mic stands.
Note that if you are looking to eliminate the use of a mic stands, you will need to acquire the Audix DVICE for drums with standard rims, and the
DCLAMP or DFLEX for hand percussion instruments or drums with curved or non-standard rims.
Following are some ideas as to how the microphones in the packs interact with each other.
FP4 [2 x f2, 1 x f5, 1 x f6]: This package is ideal for a jazz set-up or a small combo kit, but is also very useful as general purpose percussion
mics for rehearsal, small venues, home recording. The f6 is primarily designed for kick drum.
Snare and Toms: As a general rule, the f5 and f2 are designed 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 “rim” sound, pull the mic back closer to the rim. For more resonance and depth of eld,
pull the mic further away from the head. The trick is to nd the right balance between resonance and controlling bleed from the other drums.
Kick Drum: The f6 is the kick drum mic. A great accessory to help position the f6 is the STAND-KD, which is specically designed for that
application. To position the f6, a good starting point is to place the mic inside the front hole of the kick drum, pointing towards the beater. (Tip:
be sure that the grill is completely inside the hole). For more attack, move the mic closer towards the head, making sure to never position the
mic right in front of the beater.
FP5 [3 x f2, 1 x f5, 1 x f6]: Designed for a 5 piece kit, this package is adds one more f2 to the FP4 so that two rack toms and one oor tom
can be individually miked.
FP7 [3 x f2, 1 x f5, 1 x f6, 2 x f9]: This package adds two f9 condensers for overhead miking to the FP5. With the addition of the overhead mics,
you have the opportunity to create more depth of eld and more presence within the mix. You have the choice of using both f9’s for overheads,
or one for high hat and one for overhead.
Both as overheads: There are several options when placing two mics overhead. The most common 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 need to nd a
balance between the overhead mics and the drum mics, some of which will be dictated by the venue and the PA system.
One for high-hat, one for overhead: The f9 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 of the kit than the other, the mic can favor the side where there are the most cymbals.
F9
Cymbals, overheads, high hat,
goodie table, audience mic
Multi-purpose instrument
microphone, captures high
frequencies, easy to position,
roadworthy construction
Pre-polarized condenser
40 Hz - 20 kHz
Cardioid
200 ohms
8 mV / Pa @ 1k
≥137 dB
>24 dB
None
Cast Zinc Alloy /
Black Coat
111 g / 4.37 ounces
OPTIONAL ACCESSORIES:
DVICE
Spring loaded rim mount clamp
MC1
Nylon mic clip
DCLIP
Heavy duty mic clip provided with D
series, SCX series
SMT25
Shockmount suspension clip
DFLEX
All purpose percussion clamp
DCLAMP
Tension rod mic clamp
TRIPOD
Tripod mic stand
STAND-KD
Adjustable kick drum mic stand
CBL-20
20’ XLR-XLR mic cable
CBL-DR25
25’ right angle XLR-XLR
mic cable
***All specications subject to change without notice.
SERVICE AND WARRANTY:
These microphones are under warranty
for a period of 3 years from any and
all manufacturing defects. Should your
microphone fail in any way, please
contact the Audix service department at
503-682-6933. A Return Authorization
number is required before returning any
products.
CARE AND MAINTENANCE:
The Fusion Series Microphones are
manufactured to exacting specs with
roadworthy construction. However, the
capsules are highly sensitive and should be
handled with care. Avoid extreme temperatures
and be sure to store your microphone in the
case provided when not in use. Moisture of
any kind can adversely affect the sound and
performance of your microphone.
To register your
product, please visit
www.audixusa.com
www.audixusa.com Call: 503-682-6933 Fax: 503-682-7114
Audix Corporation 9400 SW Barber Street, Wilsonville, OR 97070
Loading...