PROFESSIONAL DRUM AND
FP7
FP7
OVERVIEW
Audix revolutionized drum and percussion miking by designing instrument
specific microphones. With the introduction of the Fusion Series, Audix created two
attractively priced packages for today’s up and coming professionals.
The FP7 Drum Pack contains a combination of f2, f5 and f6 dynamic microphones
with the addition of two f9 condensers. The f5 is tuned for snare drum and can be
used as well for bongos, timbales, guitar cabinets and acoustic instruments; the f2 is
ideally suited for rack and floor toms, congas, djembe, bongos, timbales, brass and
woodwind instruments. The f6, with its extended bass response, is designed for kick
drum, bass cabinets, cajon and other low frequency instruments. The f9 condenser
mics will capture the cymbal from overhead and also the hi-hat.
Built to withstand the rigors of live stage applications, the Fusion Series mics
are excellent for rehearsal, school, House of Worship and a wide variety of home
recording applications.
SUPPLIED ACCESSORIES
DCLIP - Heavy duty mic clip (6)
MC1 - Nylon mic clip (1)
DFLEX - Dual pivot rim mounted clip with extra wide butterfly jaws (4)
WSF9 - WSF9 Windscreens (2)
PERCUSSION MIC PACKAGE
INCLUDES
PACKAGED SET OF 7 DRUM MICS
Aluminum Road Case
3 x f2 Rack and Floor Tom Mics
1 x f5 Snare Mic
1 x f6 Kick Drum Mic
2 X f9 Overhead Mics
OPTIONAL ACCESSORIES
DVICE - Flexible mini-gooseneck with spring loaded rim mount clamp
DCLAMP - Flexible mini-gooseneck with drum tension lug mount
CBL20 - 20’ premium XLR-XLR balanced mic cable. Quad conductor, twisted pair with
braided shield for maximum conductivity. 6 mm PVC jacketed.
CBLDR25 - 25’ premium right angle XLR-XLR balanced mic cable. Quad conductor,
twisted pair with braided shield for maximum conductivity. 6 mm PVC jacketed.
SMT25 - Low profile shock mount system with nylon cable and thumbscrew for
positioning. Designed for use with pencil condensers (f9).
STANDKD - Short pedestal stand with telescoping boom arm
DCLIP DFLEX DVICE WSF9 DCLAMP CBL20 CBLDR25 STANDKD
MC1
SMT25
SPECIFICATIONS
FP7
Transducer
Frequency Response
Polar Pattern
Output Impedance
Sensitivity
Maximum SPL
OFF-axis rejection
Power Requirements
Materials / Finish
Weight
Length
f2
Dynamic Dynamic Dynamic Pre-polarized Condenser
52 Hz - 15 kHz 55 Hz - 15 kHz 40 Hz - 16 kHz 40 Hz - 20 kHz
Hypercardioid Hypercardioid Hypercardioid Cardioid
580 ohms 580 ohms 580 ohms 200 ohms
2 mV / Pa @ 1 k 2.2 mV / Pa @ 1 k 1.2 mV / Pa @ 1 k 8 mV / Pa @ 1 k
≥139 dB ≥137 dB ≥140 dB ≥137 dB
≥20 dB ≥20 dB ≥23 dB ≥24 dB
None None None 12 - 48 V Phantom
Zinc Alloy/ Black Finish Zinc Alloy/ Black Finish Zinc Alloy/ Black Finish Zinc Alloy/ Black Finish
247 g / 8 oz 283 g / 10 oz 311 g / 11 oz 95 g / 3.3 oz
104 mm / 4.09 in 145 mm / 5.7 in 121 mm / 4.76 in 111 mm / 4.37 in
f5
USER TIPS
The f2, f6 and f9 microphones are supplied with the DCLIP, a heavy
duty nylon stand adapter with snap-to-fit design; the f5 is supplied
with the MC1 mic clip. Each clip comes with a 3/8” thread adapter
which is mainly used with European mic stands.
The following are some ideas as to how the microphones in the
packs interact with each other.
Kick drum: The f6 is the kick drum mic. A great accessory to help
position the f6 is the STANDKD, which is specifically 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 toward the
beater. (Tip: be sure that the grill is completely inside the hole). For
more attack, move the mic closer toward the head, making sure not
to position the mic right in front of the beater.
Snare and toms: The f2 (snare) and f5 (toms) are designed to be
close miked. A good starting point is two inches above the rim
with the mic pointing toward the center of the head. For more “rim”
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 controlling bleed
from the other drums.
f6
f9
The FP7 package includes two f9 condensers for overhead miking. With the addition
of the overhead mics, you have the opportunity to create more depth of field and
more presence within the mix. There is a choice of using both f9’s for overheads, or
one for high hat and one for overhead.
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 find 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 toward the outside edge. The overhead mic can
be placed 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 with the most cymbals.
For more tips on miking your kit, please refer to the Audix DVD on “How to Mic your
Drums” or visit the www.audixusa.com.
PRODUCT REGISTRATION: Please register your product online at www.audixusa.com/docs_12/about/product_registration.shtml.
SERVICE AND WARRANTY:
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 microphones 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 RESPEC T TO THE PRODUCTS, THE USE OF THE PRODUC TS, 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 PRODUC TS, 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.
These microphones are under warranty for a period of 3 years to be free of defects in material and workmanship. In the event of a product failure due to materials
www.audixusa.com
Audix Corporation 9400 SW Barber St. Wilsonville, OR 97070
503.682.6933 Fax: 503.682.7114
ver 3.0 01-17
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