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AUDIX

MICROPHONES

P R O D U C T C A T A L O G

2010


W el co m e t o A u d i x M i c rophone s

To our valued customers, Since our beginning in 1984, Audix has remained committed to our original goal: to design, engineer and produce high performance and innovative microphone products for renowned artists and engineers worldwide. Year after year, Audix microphones are recognized for their design, performance, quality, consistency, durability and value, while continually gaining respect from the professional audio community. At Audix, we are determined to push the limits of technology, efficiency and productivity. The Audix brand continues to grow and evolve because we continue to provide you, our valued customer, with products that exceed your expectations. Our success can not only be measured by our state of the art R & D and manufacturing facility, but by the team of talented people working each day to help produce the excellent products that our customers have come to rely on for their performance needs. In a world that has become plagued with impersonal voice mail and fading customer support, we strive to maintain that personal touch. You are guaranteed to talk to a real person whenever you call us. Whether you are a dealer, an artist, an engineer or an inquiring patron, chances are that your questions and concerns will be answered within one phone call. Sincerity, ingenuity, and passion are alive and well at Audix – and we have every intention to keep it that way. From all of us here at Audix, thank you for your continued trust and support.

Clifford J. Castle Co-Founder, Audix Corporation


CONTENTS VOCAL MICROPHONES

Dynamic ..................................................... 4-15 Condenser ...............................................16-21 INSTRUMENT MICROPHONES Dynamic .................................................. 22-33 Condenser .............................................. 34-41 STUDIO CONDENSERS ...................... 42-49 MICROPHONE PACKS ......................... 50-55 MICROS™ SERIES ................................. 56-63 INSTALLED SOUND............................. 64-75 WIRELESS ................................................ 76-77 POWERED SPEAKERS ........................ 78-79 ACCESSORIES ........................................ 80-86 GLOSSARY OF TERMS ......................... 87-89 INDEX BY MODEL ...................................... 90 WARRANTY .................................................. 91

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VOCAL DYNAMIC


Vo c a l D y n a m i c M i crophone s

Dynamic vocal microphones are the most popular type of microphone for live performances because of their durability, flexibility, pattern control and cost. Between 1986 and1989, Audix broke new ground with the OM series of vocal microphones with VLM™ (Very Low Mass) technology. These microphones received critical acclaim and set new performance records for clarity, SPL handling and gain before feedback, particularly on stages with very high noise environments. Popular with professional performers, live sound and broadcast engineers, Audix dynamic microphones are chosen to tour with artists such as Bruce Springsteen, Alanis Morissette, Bonnie Raitt, Willie Nelson, Doobie Brothers, Ani DiFranco, The Academy Is..., Blink 182, Pearl Jam, Red Hot Chili Peppers, Jimmy Eat World, Lucinda Williams and Crosby, Stills & Nash to name a few.

Models: OM2 OM3 OM5 OM6 OM7 OM11 F50 CD11


D ynam OM SERIES

In 1986, Audix designed and introduced a proprietary capsule for the OM series utilizing VLM™ (Very Low Mass) technology. The principle of the VLM™ technology is based on a very lightweight diaphragm, which allows for extremely fast and accurate processing of incoming signals. The result is clear and natural sound reproduction, extended frequency response and high SPL (Sound Pressure Level) handling. VLM™ technology, combined with a very tight hypercardioid polar pattern and aerodynamic body design, established the OM Series as a new class of vocal microphones. The OM5, OM6, and OM7 became the vocal microphones of choice amongst top touring artists and sound engineers and they continue to grow in popularity year after year. Although the OM Series microphones have undergone a variety of improvements over the past 20 years, they remain true to the original design and provide the consistency, reliability and durability that professional users have come to expect from Audix.

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mic

OM2 SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL-20 - 20’ XLR-XLR low noise mic cable T50K - Low to high impedance matching transformer

Polarity Housing / Finish

MODEL VARIATIONS: OM2-S - Same as above with On-Off switch

Weight Length

Dynamic 50 Hz - 16 kHz Hypercardioid 250 ohms 1.7 mV / Pa @ 1k VLM Type B > 25 dB ≥140 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 307 g / 10.8 ounces 176 mm / 6.9 inches

(DIMENSIONS in mm)

FREQUENCY / POLARS: OVERVIEW:

Designed, assembled and tested by Audix in the USA, the OM2 is a dynamic vocal microphone used for a wide variety of live and studio applications. The OM2 is known for its clear and accurate sound reproduction, resistance to feedback and ability to handle very high sound pressure levels without distortion. The OM2 is characterized with a tight and uniformly controlled hypercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 50 Hz - 16 kHz, the OM2 employs a VLM™ (Very Low Mass) diaphragm for natural sound with exceptional transient response. The OM2 is designed with slight bass proximity and a tailored mid-range, giving it a full bodied sound on small to mid-size PA systems. The OM2 is well balanced, comfortable to hold, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and heavy duty nylon clip.

VOCAL 7


D ynam OM3

OVERVIEW:

Designed, assembled and tested by Audix in the USA, the OM3 is a dynamic vocal microphone used for a wide variety of live, studio and broadcast applications. The OM3 is known for its clear and accurate sound reproduction, resistance to feedback and ability to handle very high sound pressure levels without distortion.

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL-20 - 20’ XLR-XLR low noise microphone cable T50K - Low to high impedance matching transformer MODEL VARIATIONS: OM3-S - Same as above with On-Off switch

The OM3 is characterized with a tight and uniformly controlled hypercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 50 Hz - 18 kHz, the OM3 employs a VLM™ (Very Low Mass) diaphragm for a clean and natural sound with exceptional transient response. The OM3 is naturally attenuated in the lower mid-bass frequencies in order to reduce boominess and handling noise. This, in conjunction with an extremely articulate mid-range, makes the OM3 an excellent choice for PA systems of all sizes. The OM3 is well balanced, comfortable to hold, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and heavy duty nylon clip.

(DIMENSIONS in mm)

FREQUENCY / POLARS:

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

8

Dynamic 50 Hz - 18 kHz Hypercardioid 250 ohms 1.7 mV / Pa @ 1k VLM Type B > 25 dB ≥144 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 307 g / 10.8 ounces 176 mm / 6.9 inches


mic

OM5 OVERVIEW:

Designed, assembled and tested by Audix in the USA, the OM5 is a dynamic vocal microphone used for stage, studio and broadcast applications. The OM5 is known for its clarity, resistance to feedback and ability to handle sound pressure levels in excess of 144 dB without distortion. The OM5 is characterized with an extremely tight and uniformly controlled hypercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 48 Hz - 19 kHz, the OM5 employs a VLM™ (Very Low Mass) diaphragm for natural response, accurate sound reproduction and exceptional transient response.

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL-20 - 20’ XLR-XLR low noise microphone cable T50K - Low to high impedance matching transformer

The OM5 is naturally attenuated at 120 Hz to reduce boominess and handling noise. The mid-range is tailored for presence allowing the vocalist to be more easily heard in the mains as well as the monitors. The OM5 is comfortable to hold, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and heavy duty nylon clip.

(DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 48 Hz - 19 kHz Hypercardioid 200 ohms 1.8 mV / Pa @ 1k VLM Type C >30 dB ≥144 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 307 g / 10.8 ounces 176 mm / 6.9 inches

FREQUENCY / POLARS:

VOCAL 9


D ynam OM6 OVERVIEW:

Designed, assembled and tested by Audix in the USA, the OM6 is a dynamic vocal microphone used for a wide variety of live, studio, and broadcast applications. The OM6 is known for its broad frequency response, full-bodied and articulate sound reproduction, resistance to feedback and ability to handle high sound pressure levels in excess of 144 dB without distortion.

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL-20 - 20’ XLR-XLR microphone cable T50K - Low to high impedance matching transformer (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

10

Dynamic 40 Hz - 19 kHz Hypercardioid 200 ohms 1.5 mV / Pa @ 1k VLM Type D > 25 dB ≥144 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 307 g / 10.8 ounces 176 mm / 6.9 inches

The OM6 is characterized with a tight and uniformly controlled hypercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 40 Hz - 19 kHz, the OM6 employs a VLM™ (Very Low Mass) diaphragm for a clean and natural sound with exceptional transient response. The OM6 response is tailored with condenser-like qualities: a smooth rising response between 2k Hz - 10 kHz along with a flat and fully extended bass response from 60 Hz - 1 kHz. This, in conjunction with an extremely articulate mid-range makes the OM6 an excellent choice for broadcast and live recording applications. The OM6 is well balanced, comfortable to hold, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and heavy duty nylon clip.

FREQUENCY / POLARS:


mic

OM7

OVERVIEW:

Designed, assembled and tested by Audix in the USA, the OM7 is a dynamic vocal microphone used for professional sound companies, front of house and mixing engineers, and high profile fixed installations. The OM7 is known for its ability to provide unprecedented gain before feedback on concert level stages without sacrificing sound quality. In addition, the OM7 is very resistant to feedback on extremely loud stages, and for performers who tend to “cup” the microphone with both hands. In order to achieve these extraordinary performance benefits, the OM7 is designed with an unconventionally low output level (8-10 dB lower than typical dynamic microphones). This low gain stage acts as a natural “pad” at the capsule in order to maintain high fidelity at the source. For this reason, the OM7 is best suited for use with high quality mixing consoles with plenty of head room to compensate for the low gain. The OM7 is characterized with a super-tight hypercardioid polar pattern which effectively isolates the vocals from the rest of the instruments on stage. With a wide frequency range of 48 Hz - 19 kHz, the OM7 employs a VLM™ (Very Low Mass) diaphragm for a very clean and punchy sound with exceptional transient response. Well balanced, comfortable to hold and durable, the OM7 is manufactured with very high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector, and heavy duty nylon clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 48 Hz - 19 kHz Hypercardioid 150 ohms 0.8 mV / Pa @ 1k VLM Type C > 30 dB ≥144 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 307 g / 10.8 ounces 176 mm / 6.9 inches

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL20 - 20’ XLR-XLR mic cable (DIMENSIONS in mm)

FREQUENCY / POLARS:

VOCAL 11


D ynam OM11

OVERVIEW:

The OM11 is a re-issue of the original OM1, a hand-made microphone first issued in 1985. Designed, assembled, machined, and tested by Audix in the USA, the OM11 is a dynamic vocal microphone used for a wide variety of live, studio and broadcast applications. The OM11 is known for its sharp, crisp vocal sound, resistance to feedback and ability to handle high sound pressure levels without distortion.

The OM11 is characterized with a tight and uniformly controlled hypercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 50 Hz - 18 kHz, the OM11 employs a VLM™ (Very Low Mass) diaphragm for a very clean and natural sound with exceptional transient response. The OM11 response is tailored to cut through the mix, providing presence and articulation to the vocals even at very high stage volumes. In addition to having extremely low handling noise, the OM11 is well balanced, comfortable to hold, durable and manufactured with very high standards and tight tolerances. Roadworthy construction includes a two stage machined brass body, black e-coat finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and heavy duty nylon clip.

SPECIFICATIONS: Transducer Type: Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

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Dynamic 50 Hz - 18 kHz Hypercardioid 200 ohms 2.3 mV / Pa @ 1k VLM Type B > 30 dB ≥140 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Machined brass / Black E-coat 370 g / 13 ounces 179 mm / 7 inches

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying Pouch (P1) OPTIONAL ACCESSORIES: WS357 - External foam windscreen CBL-20 - 20’ XLR-XLR Cable T50K - Low to high impedance matching transformer (DIMENSIONS in mm)

FREQUENCY / POLARS:


mic

WHICH OM MIC DO I CHOOSE?

There are several factors to determine which mic might be best for both the short term or long term: are you a professional musician who makes your living from music? If not, do you plan to be? Do you play primarily acoustic or electric? What type of music do you play? What type of voice do you have? Do you sing “right on” the mic? What types of venues do you play? How loud is it on stage? How many instruments in the band? Do you use stage monitors or in-ear devices? How many mics are being used on stage? Do you have a sound engineer? Are you getting the picture? Here are some general ideas: The OM series are all top level professional mics. OM7: This mic is intentionally designed with an unconventional low output gain stage and is intended for concert level touring groups carrying their own PA system. It can also work in permanent installations with high level pro audio equipment such as broadcast, houses of worship and performing arts centers. If you do not fall into the above category, this mic is probably not the best choice. OM5 / OM6: These two mics are the most popular choices for pros, both for lead and background. They work well as lead vocal mics and particularly well when there is a lot of sound on stage. They both do a good job of controlling “bleed” from instruments on stage, especially drums, bass and guitar which are difficult to keep out of the vocal mics. The OM5 is a high output mic that has a mid-range boost which helps a voice “cut through the mix.” It is very clear and concise and requires that the vocalist be right on the mic in order to take advantage of its sound qualities. If you wander off the mic when you are singing, this mic is not for you. The OM6 has a very linear sound and tends to smooth out vocals that may tend to be edgy. It is almost condenser-like in frequency response and sound quality. This mic, although it still has a very tight pattern, is more forgiving than the OM5 if you tend to wander off the mic when you sing. OM2 / OM3: You can put either of these mics in front of anyone, anywhere, anytime and not be disappointed. They are both very clear and accurate and have excellent resistance to feedback. There are subtle differences between the mics. The OM2, our best selling microphone and one of the most popular mics on the market, has slightly more bass proximity. This means that it tends to sound fuller for example on smaller PA systems that might be lacking in full range reproduction. The OM3 has less bass proximity and has a slight edge over the OM2 when it comes to sound isolation and feedback rejection. OM11: This mic is all brass construction and unique from the other OM mics; it is a reproduction of an earlier model from 1986 called the OM1, one of the best rock ‘n roll mics ever produced. It has the lowest handling noise of any current mic you can find and is amazing when it comes to cutting through the mix. If you want to separate yourself from the crowd, the OM11 is the mic for you.

VOCAL 13


D ynam F50

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 50 Hz - 16 kHz Cardioid 250 ohms 2.5 mV/ Pa @ 1k o >20 dB @ 180 ≥ 138 dB None 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black E-coat 312 g / 11 ounces 169 mm / 6.7 inches

SUPPLIED ACCESSORIES: Mic Clip Carrying pouch OPTIONAL ACCESSORIES: WS375 - External foam windscreen CBL-20 - 20’ XLR-XLR low noise microphone cable T50K - Low to high impedance matching transformer MODEL VARIATIONS: F50-S - Same as above with On-Off switch (DIMENSIONS in mm)

FREQUENCY / POLARS: OVERVIEW:

The F50 is a dynamic vocal microphone designed for a wide variety of live and studio applications. The F50 is known for its warm, natural sound reproduction, resistance to feedback and ability to handle high sound pressure levels without distortion. The F50 is characterized with a tight and uniformly controlled cardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 50 Hz – 16 kHz, the F50 is also available with a noiseless, magnetic on-off switch (F50-S). The F50 is designed to sound clear and full bodied on small to mid-size PA systems. The F50 is well balanced, comfortable to hold, durable and manufactured with very high standards and tight tolerances. Roadworthy construction includes a precision cast zinc alloy, black e-coat finish, steel mesh grill, gold plated XLR connector and heavy duty ABS clip.

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mic

CD11

OVERVIEW:

The CD11 is an entry level dynamic vocal microphone designed for a wide variety of applications including music, speech, corporate AV, karaoke, houses of worship and education. The CD11 is known for its clear vocal reproduction, resistance to feedback, reliability and sturdiness. The CD11 is characterized with a uniformly controlled cardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 60 Hz - 15 kHz, the CD11 features the added convenience of an on-off switch for user control. The CD11 is designed with bass proximity and mid-range presence, resulting in a full bodied sound on small to midsize PA systems. The CD11 is well balanced, comfortable to hold, durable, and manufactured to provide consistent results. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, steel mesh grill and heavy duty ABS clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic Moving Coil 60 Hz - 15 kHz Cardioid 600 ohms 1.8 mV / Pa @ 1k o >20 dB @ 180 ≼128 dB None 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc Alloy / Black Satin 226 g / 8 ounces 185 mm / 7.3 inches

SUPPLIED ACCESSORIES: ABS Mic Clip 20’ XLR-XLR microphone cable OPTIONAL ACCESSORIES: WS375 - External foam windscreen T50K - Low to high impedance matching transformer (DIMENSIONS in mm)

FREQUENCY / POLARS:

VOCAL 15


VOCAL CONDENSER


Vo c a l C o n d e n s e r M icrophone s

In comparison to dynamics, condenser microphones are more challenging to use in a live stage environment. They have added sensitivity, are more prone to feedback and are more limited in SPL handling. To meet this challenge, Audix has developed two outstanding condenser microphones; the VX10 and the VX5. The VX10 features a 21mm capsule and requires 48-52 volts phantom power for operation. Ideally suited for stages with one featured vocal artist, the VX10 will provide unmatched studio quality sound for live broadcasts and performances. The VX5, featuring a 14mm capsule and switches for -10 dB pad and bass roll-off, is an electret condenser vocal microphone requiring phantom voltage of 9-52 volts. Providing a very wide frequency response with rich lows and detailed highs, the VX5 will meet the most demanding requirements for live sound applications. Audix vocal condensers can be seen on tour with Katie Melua, George Strait, Richard Thompson and Alanis Morissette.

Models: VX5 VX10 HT2 HT5


on ens d C VX5

OVERVIEW:

The VX5 is a professional vocal condenser microphone designed for a wide variety of live, studio and broadcast applications. With an ability to duplicate studio quality sound on stage, the VX5 is known for its smooth and accurate frequency response, resistance to feedback and ability to handle very high sound pressure levels without distortion.

The VX5 is characterized with a tight and uniformly controlled supercardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. With a wide frequency range of 40 Hz - 16.5 kHz, the VX5 has a very clean and natural sound with exceptional transient response. Other features include a 14 mm gold vapor diaphragm, an acoustically ported steel mesh grill with multi-stage pop filter and a -10 dB pad and bass roll-off filter. The VX5 will handle sound pressure levels in excess of 140 dB (with pad and roll-off engaged) and will provide over 20 dB of ambient noise rejection on live stages. In addition to vocal applications, the VX5 is ideally suited to capture acoustic instruments such as guitar, woodwinds, brass, percussion toys, drum overheads, hi-hat and piano. It is an excellent choice for home studio recording.

The VX5 is well balanced, comfortable to hold, durable and manufactured with very high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy, black e-coat finish, laser etched model and serial number, gold plated XLR connector and a heavy duty nylon clip. The VX5 requires 9 - 52 volts phantom power.

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS357 - External foam windscreen WS-i5 - External foam windscreen SMT-25 - Shockmount clip APS-2 - Two-channel phantom power supply CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLRXLR mic cable (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity at 1k Equivalent Noise Level Signal to Noise Ratio Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

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Pre-polarized Condenser 40 Hz - 16.5 kHz +/- 3 dB Supercardioid 150 ohms 5 mV / Pa 26 dB (A weighted) 68 dB >20 dB ≥140 dB (w/ -10 pad) 9-52 volts Switchcraft® male XLR connector Positive voltage on pin 2 relative to pin 3 of output XLR connector Die Cast Zinc / Black E-coat 227 g / 8 ounces 181 mm / 7.1 inches


ser

VX10

OVERVIEW:

The VX10 is a professional vocal condenser microphone designed to set new performance standards in the areas of live sound and broadcast applications. With a uniformly controlled frequency response from 40 Hz - 20 kHz, the VX10 is highly sensitive to transient response and will reproduce vocals and speech with exceptional detail and realism. The VX10 is characterized with a cardioid polar pattern which helps to isolate the vocals from the rest of the instruments on stage. Other features include a 21 mm gold vapor capsule and a multi-stage internal pop filter. The VX10 will handle sound pressure levels of ≥138 dB and will provide over 20 dB of ambient noise rejection on live stages. The VX10 is also available in a low output model (VX10-Lo) for greater control with loud stage volumes or extremely powerful vocalists. In addition to vocal applications, the VX10 is ideally suited to capture acoustic instruments such as guitar, woodwinds, brass, percussion toys, drum overheads, hi-hat and piano. It is an excellent choice for professional studio recording. The VX10 is well balanced, comfortable to hold, durable, and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc alloy body, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector and heavy duty nylon clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Off Axis Rejection Maximum SPL Dynamic Range Power Requirements Connector Polarity Housing / Finish Weight Length

Condenser 40 Hz - 20 kHz Cardioid 250 ohms VX10 - 24 mV / Pa @ 1k VX10-Lo - 4 mV / Pa @ 1k 19 dB (A weighted) 75 dB >20 dB ≥138 dB 119 dB 48 - 52v phantom Switchcraft® male XLR connector Positive voltage on pin 2 relative to pin 3 of output XLR connector Die Cast Zinc Brass capsule housing/ Black E-coat 318.6 g / 11.24 ounces 180 mm / 7.1 inches

SUPPLIED ACCESSORIES: Foam lined wooden carrying case (CASE-WOOD) Heavy duty nylon mic clip (MC1) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS-10 - External foam windscreen GR357 - Rounded top steel mesh grill ball APS-2 - Two-channel phantom power supply CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLRXLR mic cable (DIMENSIONS in mm)

FREQUENCY / POLARS:

VOCAL HANDHELD

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on ens d C HT2

OVERVIEW:

The HT2 is a professional pre-polarized headset condenser microphone for stage, presentation and broadcast applications. The HT2 is known for its excellent sonic characteristics, low profile, comfort and sound isolation from other instruments on stage. Designed for use with the Audix RAD360 wireless, the HT2 is also available in a wired version (Model HT2-P).

Characterized with a uniformly controlled supercardioid polar pattern, the HT2 is designed to capture vocals from a comfortable distance of 2-3 inches off axis. With a tailored frequency range of 50 Hz - 15 kHz, the HT2 will handle very high sound pressure levels of ≥140 dB without distortion. The HT2 is easy to position, lightweight and manufactured with high standards and tight tolerances. Roadworthy construction includes a rubber coated metal frame, a high performance 5 mm capsule, black finish, laser etched model number and a 3’ high quality cable terminating in a space saving mini-XLRf connector.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Maximum SPL Cable/Connector Polarity Housing/Finish Weight

20

Pre-Polarized Condenser 50 Hz - 15 kHz Supercardioid 250 Ohms balanced 5 mV / Pa @ 1k 26 dB (A weighted) 68 dB ≥140 dB Miniature 3 pin or 4 pin (HT5-4PIN) XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Flexible steel alloy / Black 68 g / 2.4 ounces

SUPPLIED ACCESSORIES: 3’ integrated mic cable with mini XLRf connector External foam windscreen (WSHT2) OPTIONAL ACCESSORIES: APS-910 - Phantom power adapter for hard wired use APS-911 - Battery operated phantom power adapter with on-off switch and bass roll-off MODEL VARIATIONS: For Wired Applications: HT2-P - Includes battery powered phantom power supply with on-off switch, bass roll-off and belt clip (APS-911) (DIMENSIONS in mm)

FREQUENCY / POLARS:


ser

HT5 OVERVIEW:

The HT5 is a professional pre-polarized headset condenser microphone designed for stage, presentation and broadcast applications. The HT5 is known for its excellent sonic characteristics, intelligibility, low profile, high sensitivity and comfort. Designed for use with the Audix RAD360 wireless, the HT5 is also available in a wired version (Model HT5-P).

SUPPLIED ACCESSORIES: 3’ integrated mic cable with mini XLRf connector Integrated windscreen OPTIONAL ACCESSORIES: APS-910 - Phantom power adapter for hard wired use APS-911 - Battery operated phantom power adapter with on-off switch and bass roll-off MODEL VARIATIONS: For Wireless Applications: HT5 - Headset mic only (black) for RAD360 with a 3’ cable terminating with 3 pin mini-XLR HT5-BG - Same as above in beige HT5-4PIN - Headset mic only for wireless bodypacks with 4 pin mini-XLR HT5BG-4PIN - Same as above in beige For Wired Applications: HT5-P - Headset (black) with 3’ cable terminating with 3 pin mini-XLR, APS-911 phantom power adapter with on-off switch, bass roll-off and belt clip. HT5BG-P - Same as above in beige. (DIMENSIONS in mm)

FREQUENCY / POLARS:

Characterized with a uniformly controlled omni-directional polar pattern, the HT5 is designed to capture vocals from a comfortable distance of 2-3 inches off axis. With a wide frequency range of 20 Hz - 20 kHz, the HT5 will handle high sound pressure levels of ≥140 dB without distortion. The HT5 is easy to position, lightweight and manufactured with high standards and tight tolerances. Roadworthy construction includes a rubber coated steel alloy frame, a high performance 5 mm capsule, black or beige finish, laser etched model number and a 3’ high quality cable terminating in a space saving mini-XLRf connector.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Maximum SPL Cable/Connector Polarity Housing/Finish Weight

Pre-Polarized Condenser 20 Hz - 20 kHz Omni-directional 1000 Ohms balanced 5 mV / Pa @ 1k 26 dB (A weighted) 68 dB 140 dB Miniature 3 pin or 4 pin (HT5-4PIN) XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Flexible steel alloy / Black or Beige 1.1 oz / 31 grams

VOCAL HEADSET

21


INSTRUMENT DYNAMIC


D y na mi c V L M T M I n s t r u m e n t Microphone s

Dynamic VLM™ instrument microphones are chosen for live performance due to their ruggedness, utility, high SPL handling and pattern control. The introduction of the D Series in 1993 broadened the category of dynamic instrument microphones and opened up new horizons for drum and percussion applications. Audix combined VLM™ capsule technology, transformerless design and precision machined aluminum housings to achieve new performance standards, particularly in live sound. The introduction of the D6 in 2002 set the world standard for kick drum microphones. The tradition continues with recent developments such as the i5, a well rounded general purpose utility mic with outstanding results on snare and guitar cabs and the FireBall™ Series of harmonica and beatbox microphones. Audix dynamic mics are widely used by sound engineers throughout the world. Some of the bands that currently tour with Audix include Tower of Power, Blue Man Group, P.O.D., Brian Auger, Living Colour, Todd Sucherman, Buckcherry and Dick Dale.

Models: D2 D4 D6 i5 FireBallTM FireBall V f2 f5 f6


D ynam D2

OVERVIEW:

Designed, machined, assembled and tested by Audix in the USA, the D2 is a dynamic instrument microphone used for stage, studio and broadcast applications. The D2 is characterized with a hypercardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction. The D2 is lightweight, compact and easy to position. With a wide frequency response of 44 Hz - 18 kHz and the ability to handle sound pressure levels in excess of 144 dB, the D2 is an excellent choice for miking instruments with a percussive nature such as rack toms, congas, saxophone, guitar cabinets and brass.

Roadworthy construction includes a precision machined aluminum body, black anodized finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and includes a tension-fit heavy duty nylon mic clip.

SUPPLIED ACCESSORIES: Tension-fit heavy duty mic clip (DCLIP) Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS-i5 - External foam windscreen TRIPOD - Mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-DR25 - 25’ right angle XLR cable STAND-KD - Adjustable short boom mic stand CAB GRABBER - Tension held mic holder, clamps to guitar cabinets (DIMENSIONS in mm)

Transformerless design, low impedance and balanced output allow for interference-free performance even with long cable runs.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

24

Dynamic 44 Hz - 18 kHz Hypercardioid 250 ohms 1.2 mV / Pa @ 1k VLM Type B >30 dB ≥144 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Machined Aluminum / Black Hard Coat 128 g / 4.5 ounces 100 mm / 3.9 inches

FREQUENCY / POLARS:

IN


mic

D4

OVERVIEW:

Designed, machined, assembled and tested by Audix in the USA, the D4 is a dynamic instrument microphone used for stage, studio and broadcast applications. The D4, which is characterized with a hypercardioid pickup pattern for isolation and feedback control, is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction. The D4 is lightweight, compact and easy to position. With a wide frequency response of 40 Hz - 18 kHz and the ability to handle sound pressure levels in excess of 144 dB, the D4 is an excellent choice for miking instruments requiring precise low frequency reproduction such as large rack toms, floor toms, cajon, djembe, tympani, leslie bottom, bass flute, sax and baritone sax, trombone, acoustic bass, bass cabs and small kick drums. Roadworthy construction includes a precision machined aluminum body, black anodized finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and includes a tension-fit heavy duty nylon mic clip. Transformerless design, low impedance and balanced output allow for interference-free performance even with long cable runs.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 40 Hz - 18 kHz Hypercardioid 200 ohms 1.4 mV / Pa @ 1k VLM Type D >20 dB ≥144 dB None Switchcraft® male XLR connector Positive voltage on pin 2 relative to pin 3 of output XLR connector Machined Aluminum / Black Hard Coat 128 g / 4.5 ounces 100 mm / 3.9 inches

SUPPLIED ACCESSORIES: Tension-fit heavy duty nylon mic clip (DCLIP) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS-i5 - External foam windscreen TRIPOD - Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable STAND-KD - Adjustable kick drum mic stand CAB GRABBER - Tension held mic holder, clamps to guitar cabinets (DIMENSIONS in mm)

FREQUENCY / POLARS:

STRUMENT 25


D ynam D6

OVERVIEW:

Designed, machined, assembled and tested by Audix in the USA, the D6 is a dynamic instrument microphone used for stage, studio and broadcast applications. The D6, which is characterized with a cardioid pickup pattern for isolation and feedback control, is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction.

The D6 is lightweight, compact and easy to position. With a wide frequency response of 30 Hz - 15 kHz and the ability to handle sound pressure levels in excess of 144 dB, the D6 is an excellent choice for miking instruments requiring extended low frequency reproduction such as kick drum, large toms and bass cabinets. Roadworthy construction includes a precision machined aluminum body, black anodized finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector and includes a tension-fit heavy duty nylon mic clip.

SUPPLIED ACCESSORIES: Tension-fit heavy duty mic clip (DCLIP) Carrying pouch (P1)

OPTIONAL ACCESSORIES: TRIPOD- Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp STAND-KD - adjustable kick drum mic stand CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable MODEL VARIATIONS: D6-Nickel - same as above with a nickel finish D6-Silver - same as above with a silver finish (DIMENSIONS in mm)

Transformerless design, low impedance and balanced output allow for interference-free performance even with long cable runs.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector

Polarity Housing / Finish Weight Length

26

Dynamic 30 Hz - 15 kHz Cardioid 200 ohms 0.8 mV / Pa @ 80 Hz VLM Type E >20 dB ≥144 dB None Switchcraft® male XLR connector Positive voltage on pin 2 relative to pin 3 of output XLR connector Machined Aluminum / Black Hard Coat 217 g / 7.7 ounces 117 mm / 4.6 inches

FREQUENCY / POLARS:

IN


mic

SUPPLIED ACCESSORIES: Heavy duty nylon mic clip (MC1) Carrying pouch (P1)

OPTIONAL ACCESSORIES: DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp WS-i5 - External foam windscreen CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR mic cable CAB GRABBER - Tension held mic holder, clamps to guitar cabinets (DIMENSIONS in mm)

FREQUENCY / POLARS:

i5 OVERVIEW:

Designed, assembled and tested by Audix in the USA, the i5 is a dynamic instrument microphone used for stage, studio and broadcast applications. The i5 is able to handle sound pressure levels in excess of 140 dB without distortion and can be used to mic a wide variety of musical instruments, guitar and bass cabinets, vocals and speech. The i5 is characterized with a cardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction. The i5 is sturdy, compact and easy to position. With a wide frequency response of 50 Hz - 16 kHz, the i5 provides clear, accurate, natural sound reproduction without having to rely on EQ. Roadworthy construction includes a precision cast zinc alloy body, steel grill, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector and includes a heavy duty nylon mic clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector

Polarity Housing / Finish Weight Length

Dynamic 50 Hz - 16 kHz Cardioid 150 ohms 1.5 mV / Pa @ 1k VLM Type B > 23 dB ≥ 140 dB None Switchcraft® male XLR connector Positive voltage on pin 2 relative to pin 3 of output XLR connector Die cast Zinc Alloy / Black E-coat 183 g / 6.5 ounces 141.5 mm / 5.6 inches

STRUMENT 27


D ynam FireBall™ OVERVIEW:

SUPPLIED ACCESSORIES: Heavy duty press fit mic clip (DCLIP) Carrying pouch (P1)

Designed, machined, assembled and tested by Audix in the USA, the FireBall™ is a professional dynamic instrument microphone intended for harmonica (both diatonic and chromatic) and beatbox. Clear, accurate and capable of handling sound pressure levels in excess of 140 dB without distortion, the FireBall™ is ideally suited for both live stage and studio recording applications.

OPTIONAL ACCESSORIES: WS357 - External foam windscreen DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR mic cable CBL-BP360 - 4’ adapter cable for RAD360 Wireless Bodypack T50K- High quality low-high impedance transformer

The FireBall™ is characterized with a cardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ (Very Low Mass) diaphragm for natural sound reproduction with exceptional transient response.

(DIMENSIONS in mm)

The FireBall™ is a low impedance microphone; when using the FireBall™ with a guitar amplifier, a high quality low-high impedance transformer (such as T50K) is required.

FREQUENCY / POLARS:

With a smooth, uniform frequency response of 50 Hz - 16 kHz, the FireBall™ is lightweight, compact and comfortable to hold. Roadworthy construction includes a precision machined aluminum body, steel mesh grill, unique three stage marbled anodized finish, laser etched model and serial number, Switchcraft® XLR connector and heavy duty nylon clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

28

Dynamic Moving Coil 50 Hz - 16 kHz Cardioid 150 ohms 1.5 mV / Pa @ 1k VLM Type B > 23 dB ≥140 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Machined Aluminum / Anodized 128 g / 4.5 ounces 77.5 mm / 3.05 inches

IN


mic

SUPPLIED ACCESSORIES: Heavy duty press fit mic clip (DCLIP) Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS357 - External foam windscreen DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable CBL-BP360 - 4’ adapter cable for RAD360 Wireless Bodypack T50K - High quality low-high impedance transformer (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic Moving Coil 50 Hz - 16 kHz Cardioid 150 ohms 1.5 mV / Pa @ 1k VLM Type B > 23 dB ≥140 dB None Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Zinc die cast / Black E-coat 140 g / 5 ounces 99.5 mm / 3.9 inches

FireBall V OVERVIEW:

Designed, assembled and tested by Audix in the USA, the FireBall V is a professional dynamic instrument microphone intended for harmonica (both diatonic and chromatic) and beatbox. Clear, accurate, and capable of handling sound pressure levels in excess of 140 dB without distortion, the FireBall V is ideally suited for both live stage and recording applications, and has the added convenience of a volume control. The FireBall V is characterized with a cardioid pickup pattern for isolation and feedback control, and is equipped with a VLM™ (Very Low Mass) diaphragm for natural sound reproduction with exceptional transient response. With a wide frequency response of 50 Hz - 16 kHz, the FireBall V is lightweight, compact and comfortable to hold. Roadworthy construction includes a precision cast zinc alloy body, steel mesh grill, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector and includes a tensionfit heavy duty nylon mic clip. The FireBall V is a low impedance microphone; when using the FireBall V with a guitar amplifier, a high quality low-high impedance transformer (such as T50K) is required.

FREQUENCY / POLARS:

STRUMENT 29


D ynam FUSION SERIES

The New Fusion Series represents a breakthrough in performance for cost effective microphones for today’s up and coming professionals. Designed, assembled, and tested by Audix in the USA, the New Fusion Series microphones represent: Natural sonic characteristics Full frequency response High sound pressure handling Durable fit and finish 3 year warranty The New Fusion Series microphones are available individually or in pre-packaged sets for drums, percussion and other instrument applications.

30

IN


mic SUPPLIED ACCESSORIES: Carrying pouch (P1) OPTIONAL ACCESSORIES: TRIPOD - Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR - XLR mic cable CBL-DR25 - 25’ right angle XLR - XLR mic cable (DIMENSIONS in mm)

f2 SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 52 Hz - 15 kHz Hypercardioid 580 ohms 2 mV / Pa @ 1k LMTM Type A >20 dB ≥139 dB None 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Cast zinc alloy / Black E-Coat 247 g / 8 ounces 104 mm / 4.09 inches

FREQUENCY / POLARS: OVERVIEW:

The f2 is a dynamic instrument microphone designed for live sound and studio applications. Characterized with a tailored frequency response of 52 Hz - 15 kHz, the f2 is ideally suited for instruments requiring mid-bass and midhigh reproduction. A hypercardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sound coming from the room or from other instruments on stage. Compact and roadworthy, the f2 features cast zinc alloy body and steel mesh grill. Low impedance and balanced output allow interference-free performance even with long cable runs.

STRUMENT 31


D ynam f5

OVERVIEW:

The f5 is a dynamic instrument microphone designed for live sound and studio applications. Characterized with a tailored frequency response of 55 Hz - 15 kHz, the f5 is an ideal choice for snare, toms, percussion instruments, and acoustic instruments. A hypercardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sound coming from the room or from other instruments on stage. Compact and roadworthy, the f5 features a durable cast zinc alloy body and steel mesh grill. Low impedance and balanced output allow interferencefree performance even with long cable runs.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

32

Dynamic 55 Hz - 15 kHz Hypercardioid 580 ohms 2.2 mV / Pa @ 1k LMTM Type A >20 dB ≥137 dB None 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Cast zinc alloy / Black E-Coat 283 g / 10 ounces 145 mm / 5.7 inches

SUPPLIED ACCESSORIES: Carrying pouch (P1)

OPTIONAL ACCESSORIES: TRIPOD - Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLRXLR mic cable (DIMENSIONS in mm)

FREQUENCY / POLARS:

IN


mic

SUPPLIED ACCESSORIES: Carrying pouch (P1)

OPTIONAL ACCESSORIES: STAND-KD - adjustable kick drum mic stand TRIPOD - Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR-XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable

f6 OVERVIEW: The f6 is a dynamic instrument microphone designed

for live sound and studio applications. Characterized with a tailored frequency response of 40 Hz - 16 kHz, the f6 is ideally suited for instruments requiring bass reproduction. A hypercardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sound coming from the room or from other instruments on stage. Compact and roadworthy, the f6 features a durable cast zinc alloy body and steel mesh grill. Low impedance and balanced output allow interference-free performance even with long cable runs.

(DIMENSIONS in mm)

FREQUENCY / POLARS:

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity Housing / Finish Weight Length

Dynamic 40 Hz - 16 kHz Hypercardioid 580 ohms 6 mV / Pa @ 80 Hz LMTM Type A >23 dB ≥ 140 dB None 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Cast zinc alloy / Black coat 311 g / 11 ounces 121 mm / 4.76 inches

STRUMENT 33


INSTRUMENT CONDENSERS


In s tr u m e n t C o n d e n s e r M icrophone s

The microphones in this section are electret condenser microphones. Also known as pre-polarized condensers, the technology for these microphone capsules consists of a permanently charged back plate, meaning that the required operating voltage can be much lower than 48 volts. This technology has allowed Audix to develop miniature condenser microphones which are ideal for instrument use. Small, lightweight, and easy to place, these miniaturized instrument microphones feature full range frequency response, natural sound and high SPL handling. These microphones are available with a variety of supplied and optional accessories. All of the models in this section require phantom power and some of the models (such as ADX20i and ADX10FL) may be used in conjunction with the RAD360 wireless system.

Models: Miniature: ADX10-FLP ADX20i MICRO-D F90 Pencil: f9


on ens d C ADX10FL-P

OVERVIEW:

The ADX10FL-P is characterized with a uniformly controlled cardioid polar pattern, helping to isolate the area or section being miked from other instruments or vocals on stage. With a smooth and accurate frequency range of 50 Hz - 18 kHz, the ADX10FL-P is lightweight, low profile and will provide natural sound with exceptional transient response. The ADX10FL-P, specifically for use with a flute, includes a clip that attaches to the headstock of a flute, an 8’ cable terminating to a mini XLR-f connector and a phantom power adapter (APS-911). Other model versions are available as well, one of which is the ADX10FL, for use with the Audix RAD360 wireless system which includes a flute clip, 3’ attached cable terminating to a mini-XLRf connector.

SUPPLIED ACCESSORIES: Flute clip (MC-FLUTE) External foam windscreen (WS10) Battery / phantom power adapter with on off switch and bass roll-off (APS-911) Carrying pouch (P1)

OPTIONAL ACCESSORIES: MC-ADX - Tie Clip MC10L - Metal clip with tension fit wire loop APS-910 - 9-52 Volt phantom power adapter

Manufactured to high standards and tight tolerances, the ADX10FL-P features a modular threaded capsule, a machined brass body with matte black finish, high quality shielded microphone cable and a variety of optional accessories.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity Housing/Finish Weight Length

36

Pre-Polarized Condenser 50 Hz - 18 kHz Cardioid 800 Ohms balanced 4.5 mV / Pa @ 1k 25 dB (A weighted) 69 dB 9 - 52 Volts phantom ≥120 dB Shielded 3’ terminating to a miniature 3 pin XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Brass / Black E-Coat 110 g / 4 ounces 25 mm / .98 inches

MODEL VARIATIONS: ADX10FL - As above, less power supply, for use with RAD-360 wireless (DIMENSIONS in mm)

FREQUENCY / POLARS:

IN


ser OVERVIEW:

Designed, assembled, and tested by Audix in the USA, the ADX20i-P is a miniaturized condenser microphone used for professional stage and studio applications. The ADX20i-P is known for its clarity, excellent transient response, resistance to feedback, SPL handling, ease of operation and is primarily used for miking saxophone and other brass instruments. The ADX20i-P is characterized with a uniformly controlled cardioid polar pattern. This provides excellent isolation and feedback control on stage, and natural sound reproduction at very close distances. With a smooth and accurate response over a frequency range of 40 Hz - 20 kHz, the ADX20i-P is lightweight, compact and simple to use. Housed in an aluminum ring and isolated by means of a rubber shock mount system, the ADX20i-P comes with the gooseneck clip with spring tension clip (MC-20i) for easy mounting to the bell of an instrument. A number of optional accessories are available which allows for the ADX20i-P to be used on a mic stand for a wider variety of applications. The ADX20i-P is designed for use with a microphone cable. The ADX20i-P operates on phantom voltage of 9-52 Volts and is supplied with a phantom power adapter (APS-910), 6’ integrated mic cable, gooseneck clip (MC-20i) and carrying pouch. The ADX20i (mic only) may also be used with the Audix RAD360 wireless system.

ADX20i-P SUPPLIED ACCESSORIES: Gooseneck clip with integral shock mount (MC-20i) 9-52 Volt phantom power adapter (APS-910) External foam windscreen (WS-20) Carrying pouch (P1) OPTIONAL ACCESSORIES: MC-MICRO - mic stand adapter SMT-MICRO - mic stand adapter with shockmount APS-911 - Battery/phantom preamplifier with on/off switch and bass roll-off MODEL VARIATIONS: ADX20i - As above, less power supply, for use with RAD-360 wireless ADX20iP-HC - Hypercardioid with phantom power adapter (APS-910) (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Pre-polarized Condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Hypercardioid (ADX20i-HC) Output Impedance 250 ohms Sensitivity 5.8 mV/ Pa @ 1k (C) 5.4 mV / Pa @ 1k (HC) Signal/Noise Ratio (A-weighted) 65 dB Equivalent Noise Level (A-weighted) 29 dB Maximum SPL @ .5% THD 135 dB Power Requirements 9 - 52 V phantom Connector Shielded 6’ cable terminating to a miniture 3 pin XLRf Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined Brass Gooseneck Flexible Steel Weight 48 g / 1.7 ounces Length 29 mm / 1.14 inches

FREQUENCY / POLARS:

STRUMENT MINIATURE

37


on ens d C Micro-D

OVERVIEW:

SUPPLIED ACCESSORIES: DVICE gooseneck mounting clip (DVICE-MICRO) 9-52 Volt phantom power adapter (APS-910) External foam windscreen (WS20) 6’ attached shielded cable with mini XLR-f connector Carrying pouch (P1) OPTIONAL ACCESSORIES: MC-MICRO - Mic stand adapter SMT-MICRO - Mic stand adapter with shockmount ring DFLEX-MICRO - Wide jaw clip for use with rims mounts and cymbal stands APS-911 - Battery/phantom preamplifier with on/off switch and bass roll-off (DIMENSIONS in mm)

Designed, assembled and tested by Audix in the USA, the Micro-D is a miniaturized condenser microphone used for professional stage and studio applications. The Micro-D, known for its clarity, excellent transient response, resistance to feedback, SPL handling and ease of operation, is primarily aimed for miking drums and percussion instruments. The Micro-D is characterized with a uniformly controlled hypercardioid polar pattern, provides excellent isolation and feedback control on stage as well as natural sound reproduction at very close distances.

With a smooth and accurate response over a frequency range of 40 Hz - 20 kHz, the Micro-D is lightweight, compact and simple to use. Housed in an aluminum ring and isolated by means of a rubber shockmount system, the Micro-D comes with the DVICE mount for drums. Optional accessory is the DCLAMP mount for hand percussion. Other accessories are available which allow the Micro-D to be used on a mic stand or cymbal stand for a wider variety of applications. The Micro-D operates on phantom voltage of 9 - 52 Volts and is supplied with a phantom power adapter, 6 ft integrated mic cable and carrying pouch.

SPECIFICATIONS: Transducer Type Pre-polarized Condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Hypercardioid Output Impedance 250 ohms Sensitivity 5 mV / Pa @ 1k Signal/Noise Ratio (A-weighted) 70 dB Equivalent Noise Level (A-weighted) 24 dB Maximum SPL @ .5% THD ≥140 dB Power Requirements 9 – 52 V phantom Connector 3 pin gold plated male XLR connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined Brass/ Gooseneck Flexible Steel Weight 47 g / 2 ounces Length 30 mm / 1.14 inches

38

FREQUENCY / POLARS:

IN


ser

PRO AUDIO REVIEW OF AUDIX MICRO-D [Many] years ago, Audix was a well-kept secret, only known by the 007-type audio engineers. Today it makes a wide range of quality microphones, including this little gem, called the Micro-D. FEATURES The Micro-D is a miniature condenser mic of the clip-on genre. The model I tested featured a mini gooseneck mount called a “D-Vice� that has a spring-loaded universal mount that attaches to any drum or percussion rim. The capsule of the Audix Micro-D is a tiny hypercardioid condenser element contained in a brass housing. The Micro-D functions on standard phantom power in a voltage range of 9 through 52 VDC. The capsule is suspended in a rubber shockmount, allowing the capsule to be well cushioned in even the most punishing of situations. Attached to the shockmount and gooseneck assembly are two small rubber O-rings, separated by about 2 inches, that serve as strain relief for the permanently attached signal cable. The four-foot signal cable terminates in a mini XLR connector that then plugs into a power supply module that contains the standard sized XLR connector. The entire package is finished in a black, durable, epoxy-type finish. Other accessories include the previously mentioned cardioid capsule, a spring-loaded alligator style clamp and a D-clamp for attaching the mic to lugs of percussion instruments in the event a standard rim is too wide or strangely shaped. IN USE Audix supplied me with three Micro-Ds, so I was able to mic two rack toms and one floor tom simultaneously. The first test subject was the drum kit for country music star Andy Griggs. I found the D-Vices made the installation of the Micro-D extremely easy and solid. In fact the D-Vices are a vastly superior method of attaching mini condenser mics of any brand. The gooseneck assembly was very rigid, requiring a bit more effort to bend it to shape,

but then it retained that shape infinitely better than other mini mounts I have encountered. The O-rings strain-relieved the wire quite well, requiring a minor adjustment about every fourth gig or so. The sound quality of the Audix Micro-D was impressive. The bandwidth and frequency response were superb. The floor tom was reproduced with complete clarity and full depth, requiring no EQ at all. The Micro-Ds on the rack toms exhibited precise attack, and very natural sound quality. I tried the Micro-D on snare drum as well, and the results were identical: excellent attack, smooth response and well-defined snap. On several occasions, I tried the mic on acoustic guitar, saxophone, clarinet and percussion toys (bells, wind chimes, maracas and shakers) and each time I was just a little more impressed with the Micro-D. The percussion instruments were exceptionally clear and present, especially the shakers. The saxophone and clarinet (used with ADX20i clip) were smooth and natural, never sounding electronic and never needing to be overly EQed. I experimented with brass instruments as well. Only the trumpet offered anything close to harshness, and very minor at that! SUMMARY The Audix Micro-D is an exceptional instrument microphone. It has the clarity, attack and SPL absorbency you would want for a hard percussion instrument, but the dexterity and sensitivity required for a soft percussion instrument. It exhibited exceptional softness and bandwidth for clarinets and saxophones, and a smooth friendliness for acoustic guitar. It has the toughness to survive the most robust of rock and roll drummers and never cringed at the loudest of percussion instruments. I was most impressed with the Audix Micro-D.

Written by Will James, owner and chief engineer of Atlantis Audio and Lighting; a regular contributor to Pro Audio Review.

STRUMENT MINIATURE

39


on ens d C F90

OVERVIEW:

The F90 is a cost effective miniature clip-on condenser microphone used for drums and percussion applications. The F90, known for its size, convenience and ease of operation, is intended for rehearsal bands, small clubs, schools, and houses of worship.

Characterized with a uniformly controlled cardioid polar pattern the F90 provides a rich, full sound at distances of 3-4 inches off the drum head. With a smooth and accurate response over a frequency range of 50 Hz - 18 kHz, the F90 is lightweight, compact and simple to use. The flexible gooseneck, along with the 90-degree angle of the microphone head, puts the microphone in the proper position for placement directly over the sound source. Any final adjustments can be made by simply twisting or bending the gooseneck into the desired position.

The F90 operates on phantom voltage of 9-52 Volts and is supplied with a phantom power adapter, 6’ integrated mic cable and foam windscreen.

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: Cylindrical preamplifier for use with phantom power (APS90) External foam windscreen 6’ attached shielded cable with mini XLRf connector (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity

Housing / Finish Weight Length

40

Condenser 50 Hz - 18 Hz Cardioid 250 Ohms 8.8 mV / Pa @ 1k 29 dB (A weighted) 65 dB 9 - 52 Volts phantom ≥135 dB Mini 3 pin gold plated XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Brass / Black E-Coat 170 g / 6 ounces 147 mm / 5.1 inches

IN


ser

SUPPLIED ACCESSORIES: Tension-fit heavy duty nylon mic clip (DCLIP) Carrying pouch (P1)

OPTIONAL ACCESSORIES: TRIPOD - Tripod mic stand DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR - XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable SMT-25 - Shockmount suspension clip WS81C - External foam windscreen APS-2 - Two-channel phantom power supply (DIMENSIONS in mm)

FREQUENCY / POLARS:

f9 OVERVIEW:

The f9 is a condenser instrument microphone designed for live sound and studio applications. Characterized with a tailored frequency response of 40 Hz - 20 kHz, the f9 is ideally suited for instruments requiring detailed reproduction in mid-high and extended high end frequency ranges. A wide cardioid pick-up pattern along with high sensitivity allows for close miking as well as overhead and distance miking. Compact and roadworthy, the f9 features a durable cast zinc alloy body. Low impedance and balanced output allow interferencefree performance even with long cable runs. The f9 operates on phantom power of 12-48 volts.

SPECIFICATIONS: Transducer Type Pre-polarized condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Output Impedance 200 ohms Sensitivity 8 mV / Pa @ 1k Capsule Technology Gold vapor deposition Off Axis Rejection ≥24 dB Equivalent Noise Level 22 dB (A weighted) Signal to Noise Ratio 69 dB Dynamic Range 115 dB Maximum SPL ≥137 dB Power Requirements 12-48 volts phantom Connector 3 pin male XLR connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Cast zinc alloy/ Black Coat Weight 91 g /3.2 ounces Length 111 mm / 4.37 inches

STRUMENT 41


STUDIO CONDENSERS


S t u d i o C o n d e n s e r Microphone s

Audix believes that in order for a microphone to qualify under the heading “studio condenser,” it must consistently be able to capture sound worthy of recording vocals and instruments at every recording level, from home project studio to the most elaborate recording or broadcast facility. It should also be added that most of the condenser microphones found in this section can be used to capture either vocal, instrument, or ambient sound and these applications are all considered part of the “acoustic” family when it comes to recording. Our studio condenser microphones often make their way on to live stages. The SCX series consists of two excellent microphones for studio and live use. The SCX25A has a large diaphragm capsule in a unique, patented, internal shockmount; isolated within an intricate machined brass ring. The SCX1, sharing the same low noise circuitry as the SCX25A, is a pencil style condenser featuring interchangeable capsules with different polar patterns. Like the lens of a camera, a different sized capsule will provide a different snapshot of the voice or instrument, providing the studio engineer with a wide variety of creative choices. The CX series are traditional large diaphragm condenser microphones and the CX212, which offers a choice of cardioid, omni, and figure 8 polar patterns, brings additional flexibility and value to any studio. The ADX51 electret condenser, with switches for bass roll off and pad, offers exceptional performance at an affordable price.

Models: ADX51 CX112 CX212 SCX1 SCX25A


on ens d C ADX51

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Capsule Technology Off Axis Rejection Maximum SPL Power Requirements Connector Polarity

Housing / Finish Black E-Coat Weight Length

Pre-polarized condenser 40 Hz - 18 kHz Cardioid 100 ohms 17 mV / Pa @ 1k Black plate electret >15 dB ≥132 dB 9-52 volts phantom 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Brass /

SUPPLIED ACCESSORIES: Tension-fit heavy duty nylon mic clip (DCLIP) External Foam Windscreen (WS81C) Carrying pouch (P1)

OPTIONAL ACCESSORIES: DFLEX - All purpose percussion clamp DVICE - Spring loaded rim mount clamp DCLAMP - Tension rod mic clamp CBL-20 - 20’ XLR - XLR mic cable CBL-DR25 - 25’ right angle XLR-XLR mic cable SMT-25 - Shockmount suspension clip APS-2 - Two-channel phantom power supply (DIMENSIONS in mm)

184 g / 6.5 ounces 160 mm / 6.3 inches

OVERVIEW: FREQUENCY / POLARS:

The ADX51 is a professional pre-polarized condenser microphone used for stage, studio and broadcast applications. The ADX51 is known for its clear, accurate response and flexibility to handle close or distance miking for a wide variety of acoustic instruments. Characterized with a uniformly controlled cardioid polar pattern, the ADX51 is designed to capture the acoustics of the instrument being miked while at the same time isolating it from the rest of the instruments on stage. With a wide frequency range of 40 Hz - 18 kHz, the ADX51 also features a 14mm gold vapor diaphragm and a -10 dB pad and bass roll-off filter. The ADX51 is very easy to position, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision machined brass body, black e-coat finish, laser etched model and serial number, steel mesh grill, gold XLR connector and a tension-fit heavy duty nylon mic clip.

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CX112

SPECIFICATIONS: Transducer Type Condenser Capsule Technology 1.07�/27mm Gold Vapor Diaphragm Frequency Range 20 Hz - 20 kHz (+/- 3 dB) Polar Pattern Cardioid Output Impedance 200 Ohms Sensitivity 14 mV / Pa @ 1k Equivalent Noise Level 18 dB (A weighted) Signal to Noise Ratio 76 dB Power Requirements 48-52 volts phantom Maximum SPL ≼145 dB Dynamic Range 127 dB Cable/Connector 3 pin gold plated male XLR connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Brass / Black satin Weight 450 g / 16 ounces Length 163 mm / 6.42 inches

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: Adjustable one piece metal clip (MC-112) Foam-lined wood case (CASE-WOOD) OPTIONAL ACCESSORIES: WS-112 - External foam windscreen APS-2 - Two-channel phantom power supply PD-133 - Pop Diffuser TRIPOD - Tripod Stand SMT-CX112 - Isolation shockmount MODEL VARIATIONS: CX-112 MP - Matched stereo pair. Allows for a wide variety of stereo miking techniques (DIMENSIONS in mm)

OVERVIEW:

The CX-112, a large diaphragm condenser microphone with a contemporary design and excellent performance characteristics, is an exceptional tool for professional audio production, project studios and live stage performances. Delivering a smooth, uniform frequency response from 20 Hz - 20 kHz, the CX-112 offers a rich, full bodied sound delivered by its 1.07 inch capsule. The CX-112 is equipped with a bass roll-off filter to help eliminate rumble and hum in the lower frequencies and a -10 dB pad to achieve higher sound pressure levels without distortion. A perfect candidate for a wide variety of acoustic instruments, the CX-112 will handle vocals, string sections, guitar, ensembles, guitar cabinets, ambient room miking and live stage. The CX-112, which is designed with discreet low noise preamp circuitry, operates on phantom power of 4852 volts. Optimum results will be achieved by using the CX-112 with a high quality mic preamplifier and premium quality microphone cable.

STUDIO 45


on ens d C CX212

SPECIFICATIONS: Transducer Type Capsule Technology Frequency Range Polar Pattern Output Impedance Sensitivity

Condenser 1.07�/27mm Gold Vapor Diaphragm 30 Hz - 20 kHz Multi-Pattern 200 Ohms Omni - 11 mV / Pa @ 1k Cardioid - 16 mV / Pa @ 1k Figure 8 - 11 mV / Pa @ 1k Equivalent Noise Level 18 dB (A weighted) Signal to Noise Ratio 76 dB Power Requirements 48-52 volts phantom Maximum SPL ≼132 dB Dynamic Range 110 dB Cable/Connector 3 pin gold plated male XLR connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Brass / Black satin Weight 480 g / 17 ounces Length 172 mm / 6.78 inches

SUPPLIED ACCESSORIES: Adjustable one piece metal clip (MC-112) Isolation shockmount (SMT-CX112) OPTIONAL ACCESSORIES: WS-112 - External foam windscreen APS-2 - Two-channel phantom power supply PD-133 - Pop Diffuser TRIPOD - Tripod mic stand (DIMENSIONS in mm)

OVERVIEW:

The CX-212, a multi-pattern, dual diaphragm condenser microphone with a contemporary design and excellent performance characteristics, is an exceptional tool for professional audio production, project studios and live stage performances.

FREQUENCY / POLARS:

Cardioid

46

Figure 8

Omni

Delivering a smooth, uniform frequency response from 30 Hz - 20 kHz, the CX-212 offers a choice of three polar patterns: cardioid, omni-directional and figure 8. Additionally, the CX-212 is equipped with a bass roll-off filter to help eliminate rumble and hum in the lower frequencies. The CX-212, which will handle sound pressure levels up to 132 dB, is a perfect candidate for a wide variety of acoustic instruments, vocals, string sections, ensembles and ambient room miking. The CX-212, which is designed with discreet low noise preamp circuitry, operates on phantom power of 48-52 volts. Optimum results will be achieved by using the CX-212 with a high quality mic preamplifier and premium quality microphone cable.


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SCX1 OVERVIEW:

SUPPLIED ACCESSORIES: Foam lined wooden case (CASE-WOOD) Heavy duty snap on nylon mic clip External foam windscreen (WS81C)

Designed, machined, assembled and tested by Audix in the USA, the SCX1-C is a professional studio cardioid condenser microphone designed for a wide variety recording, broadcast and live sound applications. Known for its sensitivity, pin-point accuracy, low profile and consistency, the SCX1-C is also available with hypercardioid (model SCX1-HC) or omni-directional (model SCX1-O) capsules.

OPTIONAL ACCESSORIES: APS-2 - Two-channel phantom power supply DFLEX - Dual pivot clip for piano mounting STAND-KD - Pedestal boom mic stand SMT-25 - Shockmount system PD-133 - Pop diffuser P1 - Carrying pouch

With a smooth uniform frequency response from 40 Hz - 20 kHz, the SCX1-C is very consistent when responding to on and off-axis signals and exhibiting excellent phase coherence and minimal proximity effect. The SCX1-C is characterized with a wide cardioid polar pattern. This, coupled with the high output and sensitivity of the microphone, makes the SCX1-C an ideal choice for miking overhead, room ambience, orchestral sections, stringed instruments, piano, vibes and sound effects. Other features include a 21mm gold vapor capsule, miniaturized electronics, and an extremely small footprint. The SCX1-C will handle sound pressure levels of 130 dB and will provide up to 20 dB of ambient noise rejection. In addition to acoustical instruments, the SCX1-C is an excellent choice for group vocals, speech or foley work.

(DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Maximum SPL Dynamic Range Power Requirements Connector Polarity

Housing / Finish Weight Length

Condenser 40 Hz - 20 kHz Cardioid 200 ohms 26 mV / Pa (SCX1-C) @ 1k 17 mV / Pa (SCX1-HC) @ 1k 15.5 mV / Pa (SCX1-O) @ 1k 14 dB (A weighted) 80 dB 130 dB 116 dB 48-52 volts Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Brass / Multi-layer Class ‘A’ liquid 114 g / 4 ounces 104 mm / 4.1 inches

The SCX1 features a precision machined brass body, interchangeable capsules, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector and includes a heavy duty nylon clip.

FREQUENCY / POLARS:

Cardioid

Hypercardioid

Omni

STUDIO 47


on ens d C SCX25A

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity at 1k Equivalent Noise Level Signal to Noise Ratio Maximum SPL Dynamic Range Power Requirements Connector Polarity

Housing / Finish Weight Length

Condenser 20 Hz - 20 kHz Cardioid 200 ohms 28 mV / Pa 14 dB (A weighted) 80 dB ≥135 dB 121 dB 48-52 volts phantom Switchcraft® male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Machined Brass / Multi-layer Class ‘A’ liquid 170 g / 6 ounces 148 mm / 5.8 inches

SUPPLIED ACCESSORIES: Foam lined wooden case (CASE-WOOD) Tension-fit heavy duty nylon mic clip (DCLIP) Metal adapter to accommodate 3/8” mic stands

OPTIONAL ACCESSORIES: APS-2 - Two-Channel phantom power supply DFLEX - Dual pivot clip for piano mounting STAND-KD - Pedestal boom stand SMT-25 - Shockmount system PD-133 - Pop diffuser CBL-20 - 20’ XLR-XLR microphone cable P1 - Carrying pouch

MODEL VARIATIONS: SCX25A-MP - Matched pair SCX25A-PS - Piano miking system (2 SCX25A, 2 DFLEX, 2 CBL20) (DIMENSIONS in mm)

OVERVIEW:

The SCX25A is a professional studio condenser microphone with an elegant design and a patented capsule suspension system. Uniquely shockmounted within an intricate machined brass ring, the SCX25A capsule is completely isolated from the mic body and electronics. By successfully minimizing acoustic reflections and diffractions, the SCX25A delivers a pure, open-air sound with exceptional detail and realism. With a smooth uniform frequency response from 20 Hz - 20 kHz, the SCX25A is very consistent when responding to on and off-axis signals, exhibiting excellent phase coherence and minimal proximity effect. The SCX25A is characterized with a wide cardioid polar pattern which enables the sound engineer the opportunity to blend the sound of the instrument or vocal with the sound of the room. Other features include a one-inch (25 mm) gold vapor capsule, miniaturized electronics and an extremely small footprint. The SCX25A will handle sound pressure levels in excess of 135 dB and will provide up to 20 dB of ambient noise rejection. In addition to vocals, the SCX25A is ideally suited to capture acoustic instruments such as piano, guitar, vibes, woodwinds, brass, percussion toys, drum overheads, orchestra and symphony sectionals. The SCX25A features a precision machined brass body, innovative capsule suspension system, steel mesh grill, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector and heavy duty nylon clip.

48

FREQUENCY / POLARS:


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THE SCX25A...

“...DESTINED TO BECOME A CLASSIC.”

Dennis Leonard, Supervising Sound Editor, Skywalker Sound

“The SCX25A is my go-to mic for acoustic guitar. It adds a gentle presence boost that makes any acoustic sound better and its lack of proximity effect makes the bass more natural than other mics I have used.” John Gatski, Pro Audio Review

“On Merle’s CD, Haggard Like Never Before, we recorded Willie [Nelson] and Hag with a pair of SCX25As in the middle of the band to get a “live” feel— and the vocals sounded great.” Lou Bradley, Engineer/Producer, Merle Haggard “I have miked dozens of bands at recent bluegrass festivals with just one mic—the SCX25A. The band’s response is always the same—they can’t believe the tremendous sound that comes out of a microphone with such a small footprint.” Paul Knight, Knight Sound Systems

“It behaves like a mic twice its size, a condenser with solid highs but no excessive top, and with a robust midrange and upper bass range that belie its visual appearance.” Marty Peters, Recording Magazine “I license piano samples to major keyboard companies like Emu and Ensonic. In what I do, every note is like a mastered CD. It is painstakingly hand crafted and has to be perfect. I have chosen the SCX25A mics simply because they produce better source material.” William Coakley, Sound Designer, Perfect Piano Series “Those in need of an excellent piano mic need look no further. As an overhead drum mic, [the SCX25A] provides a transparent and full sounding presentation that is up there with the best. It’s also a great choice for a sizable range of vocal recording duties.” Richard Salz, Electronic Musician

STUDIO 49


MICROPHONE PACKS


D ru m a n d S t u d i o M i c r o p hone Packs

In an effort to simplify the task of figuring out which mics to use for drum kits, percussion ensembles, piano and general studio sessions, Audix has pre-packaged several different configurations of microphones into “mic packs.� When it comes to drum and percussion microphones, Audix has paved the way with application specific microphones that have re-defined the way drums sound in a live or recorded mix. These signature mic packs consist of various combinations of microphones designed to work in harmony with each other, helping to capture and isolate the sound of each drum or instrument distinctively and naturally. The mic packs are equipped with a variety of clips and accessories; all of the goods are packed securely into an aluminum carrying case. These unique mic packages provide an extraordinary value and a lifetime of performance.

Models: DP5a DP7 DP-Elite8 FP4 FP5 FP7 SCX25A-PS Studio-Elite8


MicP ack DP SERIES

PROFESSIONAL DRUM AND PERCUSSION MICROPHONE PACKAGES:

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.

Each of the DP Series packs contain a minimum of two D2s, one D4, one i5, four DVICE clips and one MC1 mic clip. The D series microphones each have a specifically tuned VLMTM (very low mass) capsule housed in a precision-machined lightweight aluminum body. The D2 is designed to be used for toms and the D4 is designed for floor toms or small kick drums. The D6 is the quintessential kick drum microphone and the i5 snare drum microphone is designed for sonic accuracy, consistency and durability. The ADX51 and SCX condensers are ideal for high hat, overheads and goodie table. The DVICE gooseneck rim mount allows for quick and easy set up and perfect mic placement. Don’t compromise the sound of your drums. The DP series mic packages will reproduce the sound of your drums exactly how you want your audience to hear them.

DP5A

SET OF 5 DRUM MICS

Aluminum road case 1 x i5 snare mic 2 x D2 tom mics 1 x D4 floor tom mic 1 x D6 kick mic 4 x DVICE gooseneck clips 1 x MC1 mic clip 1 x DCLIP mic clip

52

DP7

SET OF 7 DRUM MICS

Aluminum road case 1 x i5 snare mic 2 x D2 tom mics 1 x D4 floor tom mic 1 x D6 kick drum mic 2 x ADX51 overhead mics 4 x DVICE gooseneck clips 1 x MC1 mic clip 3 x DCLIP mic clips 2 x WS81C windscreens

DP Elite 8

SET OF 8 DRUM MICS

Aluminum road case 1 x i5 snare mic 2 x D2 tom mics 1 x D4 floor tom mic 1 x D6 kick drum mic 2 x SCX1-C overhead mics 1 x SCX1-HC hi-hat mic 4 x DVICE gooseneck clips 1 x MC1 mic clip 4 x DCLIP mic clips 3 x WS81C windscreens


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FUSION SERIES

PRE-PACKAGED SETS OF HIGH QUALITY DRUM AND PERCUSSION MICROPHONES:

Audix has revolutionized drum and percussion miking by designing specific mics for specific 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 and f6 dynamic microphones and f9 condenser microphones (in FP7). The f5 is tuned for snare drum and can be used as well for bongos, timbales, guitar cabs, and general purpose acoustic instruments; the f2 is ideally suited for rack toms, floor 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.

FP4

SET OF 4 DRUM MICS Aluminum road case 3 x f2 tom mics, kick mic 1 x f5 snare mic 1 x MC1 mic clip 3 x DCLIP mic clips

FP5

SET OF 5 DRUM MICS Aluminum road case 3 x f2 toms, floor tom mics 1 x f5 snare mic 1 x f6 kick drum mic 1 x MC1 mic clip 4 x DCLIP mic clips

FP7

SET OF 7 DRUM MICS Aluminum road case 3 x f2 toms, floor tom mics 1 x f5 snare mic 1 x f6 kick drum mic 2 x f9 overheads, high hat mics 1 x MC1 mic clip 6 x DCLIP mic clips

DRUM 53


MicP ack SCX25A-PS

PIANO MIKING SYSTEM:

Piano is one of the most challenging instruments to reproduce, particularly in a live performance where there are other instruments on stage. The SCX25A, in addition to producing a highly transparent and remarkably accurate sound, is designed so that it can be easily positioned parallel to the soundboard. To further enhance ease of placement, Audix provides the DFLEX mounting clip which attaches directly to the rail of the piano, enabling the microphone to be placed securely just about anywhere on the soundboard. In a live sound or live broadcast environment, the instruments surrounding the piano will often bleed into the piano mics. In order to compensate for this sound leakage, it requires the piano be played in either the short stick or closed lid position. The SCX25A, with its low profile and phase coherent reproduction, is the best microphone for this application.

With its innovative design and patented capsule suspension system, the SCX25A has earned a reputation for the most compact large diaphragm condenser microphone on the market. The piano package includes two SCX25A mics, 2 DFLEX mounting clips, and 2 high quality quad conductor microphone cable with braided shield to help reduce noise induction from external sources.

RECOMMENDED POSITIONING OPTIONS:

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POSITION 1

POSITION 2

IN


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STUDIO ELITE 8 D4: A dynamic microphone similar in profile to the D2, the D4 is tuned to provide an additional octave of low frequency response down to 40 Hz. This makes the D4 a perfect choice for floor toms, large rack toms, leslie bottom, bari-sax, saxophone, bass flute, trombone, low brass, acoustic bass, cajon, and any instrument or sound effect requiring precise low frequency reproduction. The D4 features VLM™ capsule technology for capturing transient response and a hypercardioid polar pattern for close miking and sound isolation. The D4 is provided with a DVice tension fit drum clamp for added convenience when used with drums.

PROFESSIONAL STUDIO MIC PACKAGE: The Audix D-series and i5 represent the finest dynamic instrument microphones available today. Combined with the SCX25A and the SCX1-HC, Audix now offers the Studio Elite 8 - a compelling array of eight microphones that will suit a wide variety of needs for critical recording and studio applications. These microphones give artists and engineers the ability to capture the right sound at the source, where it counts most, regardless of the type of instrument or genre of music.

The Studio Elite 8 consists of:

D6: A dynamic low frequency microphone used for stage, studio, and broadcast, the D6 is now the standard for kick drum miking. Also used for large toms, bass cabinets, and other instruments requiring extended low frequency reproduction, the D6 is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction. The D6 is lightweight, compact and easy to position. Capable of sound pressure levels in excess of 144 dB without distortion, the D6 handles everything from explosive transients of Taiko drums to the deep overtones of tympani, to the rhythmic percussive attack of a classic modern kick drum.

i5: A dynamic microphone with clear accurate sound reproduction, the i5 is able handle sound pressure levels in excess of 140 dB without distortion. Although most commonly used for snare drum, leslie high and guitar cabs, the i5 is a perfect utility microphone for any studio and can be used to mic any instrument. The i5 features a proprietary VLMTM diaphragm which enables the microphone to capture tonality, transients, and overtones accurately at the source. The i5 is an essential tool for any recording, whether it be a project studio or professional recording facility.

D2: A dynamic microphone perfectly suited for for rack toms, congas, percussion and horns, the D2 is designed for instruments requiring precise and accurate sound reproduction in the mid-bass frequencies. The D2 features VLM™ capsule technology and the ability to handle high SPL capabilities at close range, is lightweight and easy to position. For added convenience, the D2 microphones are provided with the DVice tension fit rim mount drum clamps, which save set up time and space when using the mics for drum applications.

SCX25A: Shockmounted within an intricate machined brass ring, the SCX25A features an elegant design and a patented capsule suspension system; the capsule is completely isolated from the body and the circuitry. By successfully minimizing acoustic reflections and diffractions, the SCX25A delivers a pure, open-air sound with exceptional detail and realism. The SCX25A is ideally suited for a wide variety of acoustic instrument and vocal applications. The size, performance and profile of the microphone make it a perfect choice for piano, especially in situations where a short stick or closed lid must be employed. A pair of SCX25A mics make very distinctive drum overheads, ambient room or stereo acoustic guitar mics. In spite of the small footprint of the SCX25A, the microphone will provide a huge, natural sound for vocal tracks. Other features include a smooth uniform frequency response from 20 Hz - 20 kHz, cardioid polar pattern, excellent phase coherence, minimal proximity effect, and very low self-noise. A pair of SMT-25 shockmount clips are included with each microphone as part of the package. The SCX25A requires 48-52 volts of phantom power. SCX1-HC: The SCX1-HC is a hypercardioid pencil condenser microphone. As part of the SCX1 series, the SCX1-HC features a 21mm gold vapor diaphragm, miniaturized low noise electronics, precision machined brass body and capsule housing, high sensitivity and pin-point accuracy. A great microphone for hi-hat, the SCX1-HC is also ideal for instruments that require close miking along with pattern control to minimize room sound or surrounding instruments. The SCX1 series microphones are also available with cardioid or omni polar patterns, all of which feature interchangeable capsules. The Studio Elite 8 microphones, which come pre-packaged securely in a sturdy aluminum carrying case, will greatly enhance the performance capabilities for any professional recording facility, broadcast studio, project studio, production company, sound company, performing arts center, recording artist and sound engineer.

Studio Elite 8

PACKAGED SET OF 8 STUDIO MICS

Aluminum road case; 1 x i5 mic; 2 x D2 mics; 1 x D4 mic; 1 x D6 mic; 2 x SCX25A mics; 1 x SCX1-HC; 4 x DVICE gooseneck clips; 1 x MC1 mic clip; 4 x DCLIP mic clips; 2 x SMT-25 shockmounts and 1 x WS81C windscreen

STRUMENT 55


MICROS™ SERIES


M i n i t u r i z e d C o n d e n s er Microphones

Pushing the Limits of Size and Performance... Representing the most recent Audix innovation in microphone technology, The Micros™ are the world’s smallest condenser microphones with integrated preamp and detachable cable. The Micros™ feature studio quality sound, very low self-noise, up to 129 dB of dynamic range, complete immunity from RF, tailored frequency response, three application specific levels of sensitivity and a wide variety of optional clips and accessories. Coupled with the MicroBoom™, a portable lightweight 50 inch carbon fiber boom arm that can be utilized with any mic stand, the Micros have set a new standard for choir miking applications. The most recent model, the M1255B, with an unprecedented output sensitivity of 32 mV / Pa and minimum phantom voltage requirements of 18 volts, is ideally suited for distance miking for conference systems utilizing overhead ceiling mics or table top mics.

Models: M44 M1250B M1255B M1280 MicroBoom™ MicroPods™


on ens d C M44

OVERVIEW:

The M44 is a miniaturized condenser microphone with a fully integrated preamp and detachable cable. This microphone is designed for close miking high SPL instruments and sound effects. The M44, equipped with a cardioid capsule, is also available in a hypercardioid polar pattern which gives the microphone the flexibility to be used in a wide variety of live, studio and broadcast applications.

The M44 is available with a wide array of clips and accessories enabling the microphone to be used for drums, percussion, high SPL musical instruments and high SPL sound effects such as loud booms or explosions.

SUPPLIED ACCESSORIES: 25 ’cable with mini-XLRf - XLRm connectors (CBL-M25) Mic stand adapter (MC-MICRO) Lug mount adapted for hand percussion instruments with shockmount ring (DCLAMP-MICRO) Drum rim mount attachment with shockmount ring (DVICE-MICRO) External foam windscreen (WS10) Carrying pouch (P1)

OPTIONAL ACCESSORIES: MICROBOOM - 50-inch carbon fiber boom arm with clutch assembly MC-HANGER - Hanging clip SMT-MICRO - Stand adapter with rubber insulated shockmount MC20i - Clamp on clip for saxophone with shockmount ring MGN-6 - 6-inch gooseneck with base terminating in standard XLRm MGN-12 - Same as above in 12 inch length MGN-18 - Same as above in 18 inch length MODEL VARIATIONS: M44-HC - Same as above with hypercardioid capsule (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Condenser Frequency Response 50 Hz - 19 kHz Polar Pattern Cardioid Hypercardioid Output Impedance 150 ohms Sensitivity 3 mV / Pa @ 1k Signal/Noise Ratio (A-weighted) 69 dB Equivalent Noise Level (A-weighted) 21 dB Maximum SPL @ .5% THD ≥150 dB Dynamic Range 125 dB Power Requirements 18 – 52 V Connector 3 pin mini-XLRm Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined brass / Multi-layer Class ‘A’ liquid Weight 20 g / 0.7 ounces Length 54 mm / 2.1 inches

58

FREQUENCY / POLARS:

Cardioid

Hypercardioid

MICR


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SUPPLIED ACCESSORIES: 25’ cable with mini-XLRf - XLRm connectors (CBL-M25) Mic stand adapter (MC-MICRO) Hanging clip (MC-HANGER) External foam windscreen (WS1218) Carrying pouch (P1)

OPTIONAL ACCESSORIES: MICROBOOM - 50-inch carbon fiber boom arm with clutch assembly SMT-MICRO - Stand adapter with rubber insulated shockmount DCLAMP-MICRO - Lug mount adapted for hand percussion instruments with shockmount ring DVICE-MICRO - Drum rim mount attachment with shockmount ring DFLEX-MICRO - Wide jaw butterfly clip with shockmount ring MC20i - Clamp on clip for Saxophone with shockmount ring MGN-6 - 6-inch gooseneck with base terminating in standard XLRm MGN-12 - Same as MGN-6 in 12 inch length MGN-18 - Same as MGN-6 in 18 inch length ATS-10 - Heavy duty shock absorbant table stand MODEL VARIATIONS: M1250BW - Same as above in white M1250B-HC - Same as above with hypercardioid capsule M1250W-HC - Same as above with hypercardioid capsule in white M1250B-O - Same as above with omni-directional capsule M1250BW-O - Same as above with omni-directional capsule in white M1250B-S - Same as above with supercardioid (shotgun) capsule (DIMENSIONS in mm)

FREQUENCY / POLARS:

Cardioid

Hypercardioid

Omni

Shotgun

M1250B OVERVIEW:

The M1250B, a miniaturized condenser microphone with a fully integrated preamp and detachable cable, has immunity from RF interference caused by cell phones and GSM devices. The M1250B, equipped with a cardioid capsule, is also available with hypercardioid, omni or shotgun capsules, which gives the microphone the flexibility to be used in a wide variety of live, studio and broadcast applications. The M1250B is available with a wide array of clips and accessories allowing the microphone to be used for drums, percussion, musical instruments, overhead stage miking, podiums, conferences and presentations.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity

Condenser 50 Hz - 19 kHz Cardioid Hypercardioid Omni Supercardioid 150 ohms 10 mV / Pa (C) @ 1k 10 mV / Pa (HC) @ 1k 11 mV / Pa (O) @ 1k Signal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dB Maximum SPL @ .5% THD ≥140 dB Dynamic Range 119 dB Power Requirements 18 – 52 V Connector 3 pin mini-XLRm Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined brass / Multi-layer Class ‘A’ liquid Weight 20 g / 0.7 ounces Length 54 mm / 2.1 inches

OS™ SERIES 59


on ens d C M1255B

SUPPLIED ACCESSORIES: 25’ cable with mini-XLRf - XLRm connectors (CBL-M25) Mic stand adapter (MC-MICRO) Hanging clip (MC-HANGER) External foam windscreen (WS1218) Carrying pouch (P1)

OVERVIEW:

The M1255B, a miniaturized condenser microphone with a fully integrated preamp and detachable cable, is designed with a very high sensitivity for distance miking. Applications include ceiling mount or table mount for conferencing, overhead choir miking, location recording, audience or room miking.

OPTIONAL ACCESSORIES: MICROBOOM - 50-inch carbon fiber boom arm with clutch assembly SMT-MICRO - Stand adapter with rubber insulated shockmount DCLAMP-MICRO - Lug mount adapted for hand percussion instruments with shockmount ring DVICE-MICRO - Drum rim mount attachment with shockmount ring MC20i - Clamp on clip for Saxophone with shockmount ring MGN-6 - 6-inch gooseneck with base terminating in standard XLRm MGN-12 - Same as MGN-6 in 12 inch length MGN-18 - Same as MGN-6 in 18 inch length

The M1255B has immunity from RF interference caused by cell phones and GSM devices. The M1255B, equipped with a cardioid capsule, is also available with hypercardioid, omni or shotgun capsules, which gives the microphone the flexibility to be used in a wide variety of distance miking applications.

MODEL VARIATIONS: M1255B-W - Same as above in white M1255B-HC - Same as above with hypercardioid capsule M1255BW-HC - Same as above with hypercardioid capsule in white M1255B-O - Same as above with omni-directional capsule M1255BW-O - Same as above with omni-directional capsule in white M1255B-S - Same as above with supercardioid (shotgun) capsule

The M1255B is available with a wide array of clips and accessories allowing the microphone to be used for musical instruments, overhead stage miking, podiums, conferences and presentations.

(DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Condenser Frequency Response 50 Hz - 19 kHz Polar Pattern Cardioid Hypercardioid Omni Supercardioid (Shotgun) Output Impedance 150 ohms Sensitivity 32 mV / Pa @ 1k Signal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dB Maximum SPL @ .5% THD ≥130 dB Dynamic Range 109 dB Power Requirements 18 – 52 V Connector 3 pin mini-XLRm Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined brass / Multi-layer Class ‘A’ liquid Weight 20 g / 0.7 ounces Length 54 mm / 2.1 inches

60

FREQUENCY/POLARS:

Cardioid

Hypercardioid

Omni

Shotgun

MICR


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M1280

SUPPLIED ACCESSORIES: 25’ cable with mini-XLRf - XLRm connectors (CBL-M25) Mic stand adapter (MC-MICRO) Hanging clip (MC-HANGER) External foam windscreen (WS1218) Carrying pouch (P1)

OVERVIEW:

The M1280, a miniaturized condenser microphone with a fully integrated preamp and detachable cable, has immunity from RF interference caused by cell phones and GSM devices. The M1280, equipped with a cardioid capsule, is also available with hypercardioid, omni or shotgun capsules, which gives the microphone the flexibility to be used in a wide variety of live, studio and broadcast applications. The extended low-end response of the M1280 makes it a great choice for field recording and musical instrument miking.

OPTIONAL ACCESSORIES: MICROBOOM - 50-inch carbon fiber boom arm with clutch assembly SMT-MICRO - Stand adapter with rubber insulated shockmount DCLAMP-MICRO - Lug mount adapted for hand percussion instruments with shockmount ring DFLEX-MICRO - Wide jaw butterfly clip with shockmount ring DVICE-MICRO - Drum rim mount attachment with shockmount ring MC20i - Clamp on clip for saxophone with shockmount ring MGN-6 - 6-inch gooseneck with base terminating in standard XLRm MGN-12 - Same as MGN-6 in 12 inch length MGN-18 - Same as MGN-6 in 18 inch length MODEL VARIATIONS: M1280-HC - Same as M1280 with hypercardioid capsule M1280-O - Same as above with omni-directional capsule M1280-S - Same as above with supercardioid (shotgun) capsule

The M1280 is available with a wide array of clips and accessories allowing the microphone to be used for drums, percussion, musical instruments, overhead stage miking, podiums, conferences and presentations.

(DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity

Condenser 40 Hz - 20 kHz Cardioid Hypercardioid Omni Supercardioid (Shotgun) 150 ohms 10 mV / Pa (C) @ 1k 10 mV / Pa (HC) @ 1k 11 mV / Pa (O) @ 1k 18.3 mV / Pa (S) Signal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted 21 dB Maximum SPL @ .5% THD ≥150 dB Dynamic Range 129 dB Power Requirements 48 – 52 V Connector 3 pin mini-XLRm Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined brass / Multi-layer Class ‘A’ liquid Weight 28 g / 1 ounce Length 90 mm / 3.5 inches

FREQUENCY / POLARS:

Cardioid

Hypercardioid

Omni

Shotgun

OS™ SERIES 61


on ens d C MicroBoom

TM

SUPPLIED ACCESSORIES: 25’ shielded mic cable. Mini-XLRf - XLRm (CBL-M25) Mic stand adapter with thumbscrew and wing nut adjustments (MC-BOOM) Windscreen (WS1218) OPTIONAL ACCESSORIES: Pedestal mic stand adjustable 13-20 inches (MB-STAND)

MODELS AVAILABLE: MB5050 - 50 inch carbon fiber boom, clutch assembly, with M1250B cardioid mic MB5050-HC - as above with M1250B hypercardioid mic MB5055 - as above with M1255B high ouput cardioid mic MB5055-HC - as above with M1255B hypercardioid mic MB8450 - 84 inch carbon fiber boom, clutch assembly, with M1250B cardioid mic MB8450-HC - as above with M1250B hypercardioid mic MB8455 - as above with M1255B high ouput cardioid mic MB8455-HC - as above with M1255B hypercardioid mic (See individual mics for specifications)

MB50

(DIMENSIONS in mm)

OVERVIEW:

The MicroBoom™ is available in two models, the MB50, which is 50 inches (1270 mm) long and the MB84, which is 84 inches (2134 mm) long. They are each made from a carbon fiber rod that can be utilized with any of the condenser microphones in the MicrosTM series. Lightweight and able to attach to any microphone stand, the MicroBoomTM, is a problem solver for many hard-to-reach miking applications including choir, plays, and orchestra. The MicroBoom™ can used with a choice of capsules in the MicrosTM series, offering a broad choice of pick-up pattern and frequency response. High quality shielded cable is used internally to insure the cleanest audio signal path between the microphone and the bottom of the boom, which terminates in a mini-XLR male connector. The stand adapter designed for the MicroBoom™ allows for total control over the angle, rotation, and position of the carbon fiber rod. A metal thumbscrew locks the rod firmly in place. The final angle and position of the microphone is controlled by using the flexible metal gooseneck just below the microphone. The MicroBoom™ provides an ultra-clean, professional, and elegant appearance on stage while providing exceptional performance and portability.

MB84

SPECIFICATIONS: Material Rod Gooseneck Connectors Length of MB50 Length of MB84 Diameter Connectors Weight Finish

62

Carbon Fiber Steel Brass 50” / 1270mm 84” / 2134mm .20” / 7.4mm Bottom: Mini-xlr male Top: Mini-xlr female 2.5 ounces / 78 grams 4 ounces / 111 grams (without mic or clip) Non-reflective black

MICR


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MicroPodTM SUPPLIED ACCESSORIES: Flange table mount (TM1218) External foam windscreen (WS21218)

OPTIONAL ACCESSORIES: ATS-10 - Heavy-duty table mount with lighted on-off switch SMT1218R - Rubber insulated shockmount DCLIP - Mic stand adapter APS-2 - Two-channel phantom power supply WS1251 - Heavy duty dual stage windscreen CBL-20 - 20 ft. XLRm to XLRf microphone cable

MODEL VARIATIONS: Micropod6 - M1250B Cardioid mic with 6 inch gooseneck Micropod6HC - as above with M1250B Hypercardioid mic Micropod12 - M1250B Cardioid mic with 12 inch gooseneck Micropod12HC - as above with M1250B Hypercardioid mic Micropod18 - M1250B Cardioid mic with 18 inch gooseneck Micropod18HC - as above with M1250B Hypercardioid mic

(Pictured with ATS-10 Stands)

REPLACEMENT CAPSULES: CPSMICROC - Cardioid CPSMICROHC - Hypercardioid (DIMENSIONS in mm)

SPECIFICATIONS (M1250B): Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity

Condenser 50 Hz - 19 kHz Cardioid Hypercardioid 150 ohms 10 mV / Pa (C) @ 1k 10 mV / Pa (HC) @ 1k 11 mV / Pa (O) @ 1k Signal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dB Maximum SPL @ .5% THD ≥140 dB Dynamic Range 119 dB Power Requirements 18 – 52 V Connector 3 pin XLRm Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing / Finish Machined brass / Powder coat Weight of M1250B 20 grams / 0.7 oz Length of M1250B 54 mm / 2.1 inches Length of Goosenecks 157.5 mm / 373 mm / 430 mm 6 inches / 12 inches / 18 inches

OVERVIEW:

The MicroPod™ Series is a modular system consisting of the M1250B miniature condenser microphone combined with either a 6, 12 or 18 inch gooseneck. Designed for applications such as presentations, meetings and teleconferencing, the MicroPod™ Series is known for clarity, immunity to RF, excellent sound quality and ease of operation. The MicroPods have the ability to accurately capture and reproduce vocals from a comfortable distance. The MicroPod™ Series is characterized with a uniformly controlled cardioid polar pattern, helping to isolate the speaker from other ambient noise in the room or on the stage. The MicroPods are also available with a hypercardioid polar pattern (models MicroPod6HC, MicroPod12HC, and MicroPod18HC) for tighter pick-up control. With a wide frequency range of 50 Hz - 19 kHz, the MicroPods will provide natural sound with exceptional transient response. One of the advantages of the The MicroPod™ is that the gooseneck can be utilized with any of the microphones from the Micros™ Series, allowing for more flexibility and a broad range of applications. The MicroPod™ Series, which is often used in conjunction with the Audix ATS-10 table stand with lighted on-off switch, may also be used on a standard mic stand when used with the DClip mic stand adapter. The MicroPod™ Series features a machined brass microphone with integrated mic preamp, field replaceable capsule, high quality gooseneck terminating in a standard XLRm and a variety of optional accessories. The MicroPod™ Series requires 18 - 52 Volts phantom power and is available in a non-reflective black matte finish.

OS™ SERIES 63


INSTALLED SOUND


I n s t a l l e d M i crophone s

Commercial sound installations represent an important segment of the Audix family of products. These microphones are less glorified than those made popular by high profile performing artists, but by no means less important. Audix contractor microphones are most often found “behind the scenes;� on a podium in a house of worship, on the floor of a stage in a school play, in a conference or board room, on a witness stand in a court house, in a city council chamber, hung overhead in a performing arts center or hidden in the lapel of a talk show guest. Audix microphones are chosen by installers because they are easy to work with, durable and maintenance free and provide a great value.

Models: L5 ADX10 ADX40 ADX60 ADX12 ADX18 MG SERIES TM1 UEM81C UEM81S USB12


on ens d C L5

OVERVIEW:

The L5 is a micro-sized (5mm) cardioid condenser microphone also available with an omni-directional polar pattern (L5-O). The L5 series, which features modular, interchangeable capsules, is intended for use with the RAD360 wireless system as well as hard-wired vocal and instrument applications.

SUPPLIED ACCESSORIES: Tie clip (MC-ADX5) External foam windscreen (WS10) Carrying pouch (P1) APS-910 - Phantom power adapter (for L5P and L5O-P )

Designed to provide the highest quality sound in the smallest possible package, the L5 miniature condenser is ideally suited for broadcast and live sound applications for speech, interview, presentation, theatrical production, and instruments. Known for for its clarity, low profile and ease of operation, the L5 has the ability to accurately capture and reproduce vocals from a comfortable distance of 4-8 inches or for close miking acoustic instruments from a distance of 1-2 inches.

OPTIONAL ACCESSORIES: MC-L253 - Mic Clip APS-910 - Phantom power adapter APS-911 - Battery / Phantom power adapter with on / off switch and bass roll-off

The L5 is characterized with a uniformly controlled cardioid polar pattern helping to provide isolation and feedback control where applicable. The L5-O is omni directional, helping to create a free open-air and natural sound with excellent transient response. With a smooth and accurate frequency range of 20 Hz - 20 kHz for L5-O and 40 – 20k for L5, the microphone is lightweight and discrete.

SPECIFICATIONS: Transducer Type Pre-Polarized Condenser Frequency Response 40 Hz - 20 kHz 20 Hz - 20 kHz (L5-O) Polar Pattern Cardioid / Omni Output Impedance 200 Ohms balanced Sensitivity 2.2 / 2.5 mV / Pa @ 1k Equivalent Noise Level 31 / 30 dB (A weighted) Signal to Noise Ratio 63 / 64 dB Power Requirements 9-48 V Phantom Power Maximum SPL ≥130 / ≥134 dB Cable/Connector Shielded 3’ (L5) or 8’ (L5-P) terminating to a miniature 3 pin XLRf connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Machined Brass / Black E-Coat Weight 0.57 g / 0.02 ounces Length 23 mm / 0.91 inches

66

MODEL VARIATIONS: L5 - Cardioid microphone with 3’ cable terminating to a mini-XLRf connector for use with RAD360 wireless L5-O - As above with omni-directional capsule L5P - Cardioid microphone with 8’ cable terminating to a mini-XLRf connector with phantom power adapter for hard wired applications. L5O-P - As above with omni-directional capsule (DIMENSIONS in mm)

FREQUENCY / POLARS:

INSTAL


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ADX10

OVERVIEW:

The ADX10 is a miniaturized condenser microphone designed for lavalier applications such as speech, presentation and theatrical production. Known for its clarity, resistance to feedback and ease of operation, the ADX10 has the ability to accurately capture and reproduce vocals from a comfortable distance of 4-8 inches. The ADX10 is characterized with a uniformly controlled cardioid polar pattern, helping to isolate the area or section being miked from other vocals or instruments on stage. With a smooth and accurate frequency range of 50 Hz - 18 kHz, the ADX10 is lightweight, low profile and will provide natural sound with exceptional transient response. The ADX10, primarily for use with the Audix RAD360 wireless system, includes a tie-clip, 3’ attached cable terminating to a mini-XLRf connector. The wired version (ADX10-P) includes an 8’ cable terminating to a mini-XLRf connector, tie clip, external windscreen and a phantom power adapter module (APS-910). The ADX10-P, for wired use, includes a tie clip, an 8’ cable terminating to an mini XLR-f connector and a phantom power adapter (APS-910). Manufactured to high standards and tight tolerances, the ADX10 features a modular threaded capsule, a machined brass body with matte black finish, high quality shielded microphone cable and a variety of optional accessories.

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: Tie clip (MC-ADX) External foam windscreen (WS10) Carrying pouch (P1) OPTIONAL ACCESSORIES: MC10L - Metal clip with tension fit wire loop APS-911 - Battery / Phantom power adapter with on / off switch and bass roll-off MODEL VARIATIONS: ADX10-P - Same as above with phantom power adapter for hard wired use (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity Housing/Finish Weight Length

Pre-Polarized Condenser 50 Hz - 18 kHz Cardioid 800 Ohms balanced 4.5 mV / Pa @ 1k 25 dB (A weighted) 69 dB 9 - 52 Volts phantom ≥120 dB Shielded 3’ terminating to a miniature 3 pin XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Brass / Black E-Coat 110 g / 4 ounces 25 mm / .98 inches

LED SOUND 67


on ens d C ADX40

OVERVIEW:

The ADX40 is a miniaturized condenser microphone designed to hang from an overhead position for applications such as group vocals, choir, theatrical production and room ambience. Known for its clarity, resistance to feedback, and ease of operation, the ADX40 has the ability to accurately capture and reproduce sound from a distance. The ADX40 is characterized with a uniformly controlled cardioid polar pattern, helping to isolate the area or section being miked from other vocals or instruments on stage. The ADX40 is also available in a hypercardioid polar pattern (model ADX40-HC) for tighter pick-up control. With a wide frequency range of 40 Hz - 20 kHz, the ADX40 provides natural sound with exceptional transient response. The ADX40 is supplied with an attached 30’ cable, external windscreen, wire hanger for positioning and phantom power adapter. Manufactured with very high standards and tight tolerances, the ADX40 features a machined brass body, field replaceable capsule and a variety of optional accessories. The ADX40 is available in non-reflective black or white finish (ADX40-W).

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity Housing/Finish Weight Length

68

Condenser 40 Hz - 20 kHz Cardioid Hypercardioid (ADX40-HC) 250 Ohms balanced 5 mV / Pa @ 1k 29 dB (A weighted) 65 dB 9 - 52 Volts phantom ≥130 dB Shielded 30’ terminating to a miniature 3 pin XLRf connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Brass / Black E-Coat 110 g / 4 ounces 30 mm / 1.2 inches

SUPPLIED ACCESSORIES: Cylindrical preamplifier for use with phantom power (APS-910) Wire hanger (HANGER-40) External foam windscreen (WS20) 30’ attached shielded cable with mini XLRf connector Carrying pouch (P1) OPTIONAL ACCESSORIES: MC-MICRO - Mic stand adapter SMT-MICRO - Mic stand adapter with shockmount ring APS-911 - Battery/phantom preamplifier with on/off switch and roll-off

MODEL VARIATIONS: ADX40-W - Same as above in white ADX40-HC - Hypercardioid capsule in black ADX40W-HC - Hypercardioid capsule in white (DIMENSIONS in mm)

FREQUENCY / POLARS:

INSTAL


ser

ADX60

SUPPLIED ACCESSORIES: 25’ detachable mic cable with mini XLRf connectors (CBL60) Phantom power adapter (APS-910) Carrying Pouch (P1) OPTIONAL ACCESSORIES: APS-911 - Battery operated phantom power adapter with on-off switch and bass roll-off

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity Housing/Finish Weight Length

Pre-Polarized Condenser 50 Hz - 18 kHz Cardioid 250 Ohms balanced 5 mV / Pa @ 1k 29 dB (A weighted) 65 dB 9 - 52 Volts phantom ≥130 dB Miniature 3 pin XLRm connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Die Cast Zinc / Black E-Coat 143 g / 5 ounces 80 mm / 3.14 inches

(DIMENSIONS in mm)

OVERVIEW:

FREQUENCY / POLARS:

The ADX60 is a professional pre-polarized condenser microphone designed for stage, studio and broadcast applications. The ADX60 is known for its high sensitivity and ability to handle distance and area miking for a wide variety of applications including conferencing, plays, theatre and acoustic instruments. Characterized with a uniformly controlled hemi-cardioid polar pattern, the ADX60 is designed to capture a specific designated area, hence the name “boundary microphone.” With a wide frequency range of 50 Hz - 18 kHz, the ADX60 is requires 9 - 52 Volts phantom power for operation and is equipped with a 25’ cable and phantom power adapter (APS-910). The ADX60 is very easy to position, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc casing, high performance 12 mm capsule, black e-coat finish, laser etched model and serial number, steel mesh grill and space saving mini-XLR connector.

LED SOUND 69


on ens d C ADX12 & 18 OVERVIEW:

The ADX12 and ADX18 are professional miniature gooseneck condenser microphones designed for applications such as podium, presentation, meetings and teleconferencing. Known for their clarity, excellent sound quality and ease of operation, the ADX12/18 have the ability to accurately capture and reproduce vocals from a comfortable distance.

SUPPLIED ACCESSORIES: Flange table mount (TM1218) External foam windscreen (WS21218)

OPTIONAL ACCESSORIES: ATS-10 - Table stand SMT1218R - Rubber insulated shockmount DCLIP - Mic stand adapter APS-2 - Two-channel phantom power supply

The ADX12/18 are characterized with a uniformly controlled cardioid polar pattern, helping to isolate the speaker from other ambient noise in the room or on the stage. The ADX12/18 mics are also available in a hypercardioid polar pattern (models ADX12HC and ADX18HC) for tighter pick-up control. With a wide frequency range of 40 Hz - 18 kHz, the ADX12/18 provide natural sound with exceptional transient response.

MODEL VARIATIONS: ADX12-HC / ADX18-HC - Same as above with Hypercardioid capsule (DIMENSIONS in mm)

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Cable/Connector Polarity Housing/Finish Weight Length

70

Pre-Polarized Condenser 40 Hz - 18 kHz Cardioid Hypercardioid (ADX12-HC or ADX18-HC) 250 Ohms balanced 24 mV / Pa @ 1k 28 dB (A weighted) 66 dB 9 - 52 Volts phantom ≼120 dB 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Machined Aluminum and Brass / Black matte 113 g / 4 ounces (ADX12) 159 g / 5.6 ounces (ADX18) 403 mm / 16 inches (ADX12) 558 mm / 22 inches (ADX18)

The ADX12/18 mics are equipped with an integrated preamp circuitry built into the base of the XLR and may be mounted permanently via the supplied flange mount or with an optional base with an internal shock mount (SMT1218R). The mics may also be used on a standard mic stand or in conjunction with the Audix ATS-10 table stand with lighted on-off switch. Manufactured with very high standards and tight tolerances, the ADX12/18 features a machined brass body, field replaceable capsule and a variety of optional accessories. The ADX12/18 operate on phantom power of 9 - 52 Volts and are available in non-reflective black matte finish.

FREQUENCY / POLARS:

INSTAL


ser

MG12,15 & 18

OVERVIEW:

The MG12, MG15, and MG18 are professional miniature gooseneck condenser microphones designed for applications such as podium, presentation, meetings and teleconferencing. Known for their clarity, excellent sound quality and ease of operation, the MG12/15/18 have the ability to accurately capture and reproduce vocals from a comfortable distance. The MG12/15/18 are characterized with a uniformly controlled cardioid polar pattern, helping to isolate the speaker from other ambient noise in the room or on the stage. The MG12/15/18 gooseneck mics are also available in a hypercardioid polar pattern for tighter pattern control (see models below). With a wide frequency range of 60 Hz - 19 kHz, the MG12/15/18 provide natural sound with exceptional transient response. The MG12/15/18 gooseneck system is equipped with a sophisticated dual preamp circuitry – one circuit located in the capsule housing and the other circuit built into the base of the XLR. This circuitry is internally balanced, insuring that the audio path will be isolated from hum and noise. In addition, the circuitry employs protection from RF and spurious emissions from cell phones and wireless GSM devices. The goosenecks may be mounted with the supplied flange mount (TM1218) or with an optional base with an internal shockmount (SMT1218R). The mics may also be used on a standard mic stand or in conjunction with the Audix ATS-10 table stand with lighted on-off switch. Manufactured with very high standards and tight tolerances, the MG12/15/18 features a machined brass body, field replaceable capsule, replaceable electronics, and a variety of optional accessories. The MG12/15/18 operate on phantom power of 18 - 52 Volts and are available in non-reflective black matte finish.

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: Flange table mount (TM1218) External foam windscreen (WS21218) OPTIONAL ACCESSORIES: ATS-10 - Table stand SMT1218R - Rubber insulated shockmount DCLIP- Mic stand adapter APS-2 - Two-channel phantom power supply (DIMENSIONS in mm)

SPECIFICATIONS:

Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Dynamic Range Cable/Connector Polarity Housing/Finish Weight Length

Pre-Polarized Condenser 60 Hz - 19 kHz Cardioid Hypercardioid (MG12-HC, MG15-HC & MG18-HC) 150 Ohms balanced 32 mV / Pa @ 1k 22 dB (A weighted) 72 dB 18 - 52 Volts phantom ≼130 dB 108 dB 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Machined Brass / Black matte 118 g / 4.16 ounces (MG12) 126 g / 4.44 ounces (MG15) 134 g / 4.73 ounces (MG18) 415 mm / 16.3 inches (MG12) 480 mm / 18.9 inches (MG15) 570 mm / 22.4 inches (MG18)

LED SOUND 71


on ens d C TM1

OVERVIEW:

The TM1 is a 6 mm pre-polarized condenser microphone used for test and measurement applications. The TM1 is known for its linearity, accurate response, consistency, ease of use and affordability.

Characterized with a uniformly controlled omnidirectional polar pattern, the TM1 is designed to capture acoustic measurements for room analysis software programs, real time analyzers and other sound control devices. With a flat frequency range of 20 Hz – 25 kHz, the TM1 is an excellent tool for sound engineers, sound companies, and recording enthusiasts.

Requiring 18 - 52 Volts phantom power for operation, the TM1 features a precision machined 4-stage brass body and capsule housing, nickel plate finish, Switchcraft ® XLR, shock absorbent O-rings, and heavy duty snap to fit mic clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Open Circuit Sensitivity Equivalent Noise Level Signal to Noise Ratio Distortion Power Requirements Maximum SPL Cable/Connector Polarity Housing / Finish Weight Length

72

Pre-Polarized Condenser 20 Hz - 25 kHz +/-2dB Omni-directional 200 Ohms 6.5mV / Pa @ 1k 28 dB (A weighted) 66 dB 114 dB SPL 1% 9 - 52 Volts phantom 130 dB with distortion < 1% 140 dB Max 3 pin gold plated male XLR connector Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 4 piece precision machined brass Nickel 132 g / 4.7 ounces 150 mm / 5.9 inches

SUPPLIED ACCESSORIES: Heavy duty tension fit mic clip (DCLIP) Windscreen (WSHT2) Carrying pouch (P1) OPTIONAL ACCESSORIES: WS-TM1 - Screw-on windscreen TRIPOD - Tripod mic stand MC19 - Shockmount clip CBL-20 - 20’ XLR-XLR mic cable (DIMENSIONS in mm)

FREQUENCY / POLARS:

INSTAL


ser

UEM81C

OVERVIEW:

The UEM81C is a pre-polarized condenser microphone used for stage, studio, video applications and broadcast applications. The UEM81C is conveniently powered by one AA battery; therefore it is not dependent on phantom power for operation. Known for its clear, accurate response and flexibility to handle close or distance miking, the UEM81C is well suited for a wide variety of vocal and instrument applications. Characterized with a uniformly controlled cardioid polar pattern, the UEM81C is designed to capture the acoustics of vocals or instruments while at the same time isolating it from the rest of the ambient noise on stage or in the room. With a wide frequency range of 40 Hz – 20 kHz, the UEM81C is equipped with an on-off switch as well as with a bass roll-off switch. The UEM81C is very easy to position, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a machined aluminum body and capsule housing, black e-coat finish, interchangeable threaded capsule and snap to fit composite clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Sensitivity at 1k Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Connector Polarity Housing/Finish Weight Length

Pre-Polarized Condenser 40 Hz - 20 kHz Cardioid 600 Ohms 4 mV / Pa 27 dB (A weighted) 82 dB AA Battery ≥128 dB 3 pin gold plated male XLR Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Aluminum / Black E-Coat 236.6 g / 8 ounces 225 mm / 8.9 inches

SUPPLIED ACCESSORIES: Modular preamp supply with on-off switch and bass roll-off filter (PS-81) Modular cardioid capsule (CPS81C) Tension-fit clip (MC81) External Foam Windscreen (WS81C) 20’ XLR-XLR mic cable Vinyl carrying box OPTIONAL ACCESSORIES: D-Clip - Heavy duty tension clip SMT-25 - Shockmount suspension clip TRIPOD - Tripod mic stand OPTIONAL CAPSULE: CPS-81S - Modular shotgun capsule (DIMENSIONS in mm)

FREQUENCY / POLARS:

LED SOUND 73


on ens d C UEM81S

OVERVIEW:

SUPPLIED ACCESSORIES: Modular preamp supply with on-off switch and bass roll-off filter (PS-81) Modular cardioid capsule (CPS81S) Tension-fit clip (MC81) External Foam Windscreen (WS81S) 20’ XLR-XLR mic cable 1 AA Battery Vinyl carrying box OPTIONAL ACCESSORIES: DCLIP - Heavy duty tension clip SMT-25 - Shockmount suspension clip TRIPOD - Tripod mic stand OPTIONAL CAPSULE: CPS-81C - Modular cardioid capsule (DIMENSIONS in mm)

FREQUENCY / POLARS:

The UEM81S is a pre-polarized condenser microphone used for stage, studio, video and broadcast applications. The UEM81S is conveniently powered by one AA battery; therefore it is not dependent on phantom power for operation. Known for its exceptional sound quality, accurate response and ability to pick up from a distance, the UEM81S is designed to be aimed directly at the sound source and can help capture those “hard to get to” places in a theatre, on a stage, in a sporting event or in the outdoors. Characterized with a uniformly controlled supercardioid polar pattern, the UEM81S is designed to capture the acoustics of a vocal or instrument while at the same time isolating it from the rest of the ambient noise on stage or in the room. With a wide frequency range of 20 Hz – 20 kHz, the UEM81S is equipped with an on-off switch as well as with a bass roll-off switch. The UEM81S is very easy to position, durable and manufactured with high standards and tight tolerances. Roadworthy construction includes a machined aluminum body and capsule housing, black e-coat finish, interchangeable threaded capsule and snap to fit composite clip.

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Open Circuit Sensitivity Equivalent Noise Level Signal to Noise Ratio Power Requirements Maximum SPL Connector Polarity Housing/Finish Weight Length

74

Pre-Polarized Condenser 20 Hz - 20 kHz Supercardioid 600 Ohms 4 mV / Pa 24 dB (A weighted) 79 dB AA Battery ≥128 dB 3 pin gold plated male XLR Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Aluminum / Black E-Coat 396.9 g / 14 ounces 435 mm / 17.1 inches

INSTAL


ser OVERVIEW:

USB12

The USB12 is a miniaturized USB condenser microphone used for recording voice and acoustic instruments directly into a computer. Known for its clarity, excellent transient response, SPL handling and ease of operation, the USB12 is designed to naturally capture and reproduce vocals and instruments with stunning detail. The USB12, which is characterized with a uniformly controlled cardioid polar pattern, provides excellent isolation and control at the sound source. With a smooth and accurate response over a frequency range of 50 Hz - 16 kHz, the USB12 sits on top of a stable desktop base and can be quickly and easily adjusted to any position. The USB12 has a 16 bit sample resolution and supports 44.1k and 48k sample rates for both playback and recording. This high definition condenser microphone features a push-to-talk button with the option of ‘steady on’ or ‘momentary on’ as well as a headphone jack for real time monitoring and a bass roll-off filter to control unwanted low frequency signals.

SUPPLIED ACCESSORIES: 6’ USB cable (CBL-USB6) External windscreen (WS20) MODEL VARIATIONS: USB12-W - Same as above in white OPTIONAL CAPSULES: CPSADXC - Cardioid CPSADXHC - Hypercardioid CPSADXO - Omnidirectional (DIMENSIONS in mm)

The USB12 includes a 6 ft USB cable, matte black finish and field replaceable capsule. Also available in white (USB12-W).

SPECIFICATIONS: Transducer Type Frequency Response Polar Pattern Output Impedance Open Circuit Sensitivity Signal to Noise Ratio Maximum SPL @ 1% THD Dynamic Range Operating Voltage Switch Type On/Off Switch Function Roll-off Filter Sampling Rate Housing / Finish Weight Length

Pre-Polarized Condenser 50 Hz- 16 kHz Cardioid 1000 Ohms 1.3 mV / Pa 64 dB, 1k @ 1 Pa 115 dB 85 dB 5 Volts via USB connection Membrane Push To Talk (PTT) or Push To Lock (PTL) @150 Hz 16 bit, 44.1k / 48k for both playback and recording Brass Matte black White (USB12-W) 567 g / 20 ounces 310 mm / 12.2 inches

FREQUENCY/POLARS:

LED SOUND 75


Wireless RAD360 OVERVIEW:

The Audix RAD-360 is a frequency agile UHF wireless microphone system with 193 selectable frequencies (per system group) and dual tuner, true diversity receivers. Operating in the UHF band between 614-638 MHz and 638–662 MHz, the RAD-360 is designed for a wide range of professional applications including live performances, regional sound companies, fixed installations, corporate meetings and events, and houses of worship. The RAD-360 features easy-to-use and easy-to-read menu driven displays in every component of the system. Both the receiver and the transmitter are synthesizer controlled via Phase Locked Loop (PLL) for stable Radio Frequency (RF) signals.

SUPPLIED ACCESSORIES:

DC Power supply - 110 VAC, 12V-350 milliamp (PS-110R) Two 3/4 Wave UHF whip antennas (ANT-1) Zippered carrying case (CASE-360A) Microphone clip for handheld transmitter (MC-360T)

OPTIONAL ACCESSORIES:

RM1 - Rack mount kit for 1 -RAD360R RM2 - Rack mount kit for 2 -RAD360R CBL-RM1 - 3’ antenna extension cable with BNC connectors ADS-4 - Antenna Distribution System (for up to 4 systems) AB1 - UHF antenna booster ANT-D360 - Active UHF directional antenna paddle CBL-G360 - 3’ Guitar cable for bodypack

SYSTEM COMPONENTS:

R360 UHF true diversity receiver B360 UHF bodypack T360 - UHF hand held transmitter (without capsule assembly) T363 - UHF Handheld transmitter with OM3 capsule T365 - UHF Handheld transmitter with OM5 capsule T366 - UHF Handheld transmitter with OM6 capsule T367 - UHF Handheld transmitter with OM7 capsule T363-CA - OM3 Capsule assembly for handheld transmitter T365-CA - OM5 Capsule assembly for handheld transmitter T366-CA - OM6 Capsule assembly for handheld transmitter T367-CA - OM7 Capsule assembly for handheld transmitter

The RAD-360 handheld transmitters are constructed with durable metal housings and feature legendary performance of the OMseries dynamic microphones from Audix—microphones that have set standards in the pro audio industry for clarity, feedback rejection and dependability. The hand-held transmitters have a convenient gain setting control that will enable a -6, -12 or -24 dB pad to help prevent overload or distortion. The modular design of the threaded capsule housing assembly means that the user can easily change the transmitter mic capsule from one OM Series model to another in a matter of seconds. The body pack transmitter, constructed of durable ABS composite, is housed in a protective metal cradle. It may be used with lavalier, headset and specialty instrument microphones. A guitar system is also available. Mic/line input adjustments are provided as well as sensitivity/gain control. The receiver is rack-mountable for either 1 or 2 systems into a standard 19 inch rack with optional rack mount kits. An optional amplified Antenna Distribution System (ADS-4) is available, allowing up to 4 systems to be run off a single pair of antennas, and one DC power supply. An optional antenna booster (AB-1), which can be wall-mounted or mic stand mounted, is available to strengthen incoming signals, improve signal to noise ratio and increase the RF range.

LAVALIER & SPECIALTY MICROPHONES for RAD360 BODYPACK:

ADX5 - Black omni lavalier with 3’ cable ADX10 - ADX10 cardioid lavalier with 3’ cable HT2 - Headset mic with 3’ cable HT5 - Slim line omni headset microphone–black HT5-BG - Slim line omni headset microphone–beige ADX20i - ADX20i Instrument mic with 3’ cable (DIMENSIONS in mm)

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NOTICE: Users of wireless microphones in the USA, on frequencies listed under FCC part 74.801 must comply with eligibility & licensing requirements under FCC Part 74.832. Please review terms at: www.access.gpo.gov/nara/cfr/waisidx_00/47cfr74_00.html Receipt or use of this product acknowledges acceptance of the FCC regulations. For further questions, you may contact Audix.


SPECIFICATIONS: Frequency Range Switchable Frequencies Freq Response Signal To Noise Ratio Compander System Pilot Tone

R360 Receiver

614 MHz - 638 MHz & 638 MHz–662 MHz 193 (per system group of 24 MHz spaced 125 kHz apart) 40 Hz–18 kHz (depending on capsule) >110 dB HDX 32.768 kHz

Receiving System Dual tuners, true diversity receiver Image Rejection 50 dB nominal, 45 dB minimum Signal-to-noise Ratio 110 dB @ 30 kHz deviation (IEC-weighted), max modulation 75 kHz Total Harmonic Distortion 1% (10 kHz deviation at 1 kHz) Sensitivity 26 dBμV (S/N 60 dB at 5 kHz deviation, IEC-weighted) <2.5μV Intermediate Frequency 55.875 MHz, 10.7 MHz Audio Output Unbalanced: 40 mV (at 1 kHz, 10kHz deviation, 10k ohm load) (AF Level set at “0”) Balanced: 8mV (at 1 kHz, 10kHz deviation, 600 ohm load) Output Connectors Unbalanced: 1/4” phone jack Balanced: XLR Nominal Peak Deviation Balanced: -24 to +18dBu Unbalanced: -30 to +12dBu (adjustable in 6 dB-steps) Adjacent Channel Rejection >68 dB Intermodulation Spacing >68 dB Image Rejection >72 dB Power Supply 120V AC 60 Hz; 12-18V DC, 350 mA, with external supply Dimensions 8.35” (W) x 1.1” (H) x 6.5” (D) 212mm (W) x 38mm (H) x 165 mm (D) Net Weight 2.32 lbs / 1050 g Interchangeable Head Assemblies

Bodypack with ADX10 Lavalier

T360 Handheld Microphone Transmitter

RF Power Output 50 mW Max Spurious Emissions < -54 dBm Battery (not included) 2- AA 1.5 V Current Consumption 100 mA typical Battery Life Approximately 12 hours (depending on battery type and usage) Max Sound Pressure Level >140 dB (depending on capsule) Dimensions 1.3” diameter body, 2.1” diameter grill x 9.4” (L) 33 mm diameter body, 53.4 mm diameter grill x 238.67 mm (L) Net Weight (without battery) 12.35 oz / 350 g

B360 Bodypack Transmitter Bodypack with ADX20i Condenser

Bodypack with HT2 Headset

RF Power Output Spurious Emissions Input Connector Input Controls Battery Current Consumption Battery Life Input Impedance Max Sound Pressure Level Dimensions Net Weight

50 mW Max Under federal regulations 3 pin mini-XLR Mic/line switch, and 20 dB potentiometer (not included) 2- AA 1.5 V 100 mA typical Approximately 12 hours Mic: 10kOhm Line: 1M Ohm approx. 128–140 dB (depending on mic) 71.3 mm (W) x 104 mm (L) x 27 mm (D) 2.8 inches (W) x 4 inches (L) x 1 inch (D) (with battery) 7.2 oz / 204.5 g

RAD360 77


Speakers PH3-S

OVERVIEW: The Powerhouse series self powered speakers have been serving the professional audio industry for over 10 years. Although simple in design, they represent the latest advances in technology, utilizing hybrid amplifier components and lightweight composite cabinets. The system design incorporates a stereo amplifier in one of the speakers (the master) which in turn connects by a cable to the other speaker (the slave). The amplifier utilizes two RCA audio inputs, a 1/4 inch input for the speaker cable and a volume control knob. The Powerhouse speakers are easy to setup and simple to use. For the ultimate compact speaker where space is at a premium, the PH3-S is unbeatable. Optional accessories include two types of mounting brackets: C-Clamp style (MB-3) or swivel mount wall or ceiling bracket (SWB101).

SUPPLIED ACCESSORIES: 12v DC power supply 6 ft. speaker cable with 1/4 in. plug OPTIONAL ACCESSORIES: SWB101 - Wall or ceiling mount swivel brackets MB-3 - Clamp style mounting brackets

SPECIFICATIONS: Power 20 watt stereo amplifier Frequency Response 100 Hz - 20 kHz Nominal Impedance 4 ohms Sensitivity 87 dB SPL (1 watt / 1 meter) Crossover frequency 3 kHz Transducers Low Freq Driver Video Shielded 87 mm w/ 26 mm voice coil & 70 mm magnet High Freq Diver 19 mm w/ 14 mm voice coil & 40 mm magnet Power Requirement 12 volt 1000 milliamp Connectors on master Dual RCA inputs for audio 1/4” input for speaker cable Mini jack for DC power supply Connectors on slave Spring-loaded terminals Enclosure Bass reflex design Enclosure material ABS composite with metal grill Finish Black Dimensions (WxHxD): 4.7”x7.5”x4.7” Net weight (pair): 8lbs / 3.6Kg

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FREQUENCY / POLARS:

PO


PH5-VS OVERVIEW: The Powerhouse series self powered speakers have been serving the professional audio industry for over 10 years. Although simple in design, they represent the latest advances in technology, utilizing hybrid amplifier components and lightweight composite cabinets. The system design incorporates a stereo amplifier in one of the speakers (the master) which in turn connects by a cable to the other speaker (the slave). The amplifier utilizes two RCA audio inputs, a 1/4 inch input for the speaker cable and a volume control knob. The Powerhouse speakers are easy to setup and simple to use. The PH5-VS delivers a high quality contemporary sound which emphasizes a clean, articulate midrange combined with outstanding bass. Whether you are a hobbyist or professional, the PH5-VS amplified speakers are a perfect choice for any type of portable music playback system, home recording, or permanent installation. Optional accessories include swivel mount wall or ceiling bracket (SWB101), cordura padded carrying case with shoulder strap (CASE-PH5).

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES: AC power cord 6 ft. speaker cable with 1/4 inch plug OPTIONAL ACCESSORIES: SWB101 - Wall or ceiling mount swivel brackets CASE-PH5 - Cordura padded carrying case w/ shoulder strap MODEL VARIATIONS: PH5VS-W - Same as above in white

SPECIFICATIONS: Power 25 watt stereo amplifier Frequency Response 75 Hz - 20 kHz Nominal Impedance 4 ohms Sensitivity 89 dB SPL (1 watt / 1 meter) Crossover frequency 2.5 kHz Transducers Low Freq Driver Video Shielded 127 mm w/ 27 mm voice coil & 80 mm magnet High Freq Diver 19 mm w/ 14 mm voice coil & 45 mm magnet Power Requirements 120 volt AC Connectors on master Dual RCA inputs for audio 1/4” input for speaker cable 3 prong IEC receptacle for power cable Connectors on slave Spring-loaded terminals Enclosure Bass reflex design Enclosure material ABS composite with metal grill Finish Black / White (PH5VS-W) Dimensions (WxHxD): 6.3”x9.3”x6.5” Net weight (pair): 11lbs / 5Kg

WERHOUSE 79


Accessories CBL-20

CBL-DR25

W ir eless

Mi crophone

Cables

Mi cros TM

25 ft Premium right angled 20 ft premium XLR-XLR XLR-XLR balanced mic balanced mic cable. Quad cable. Quad conductor, conductor, twisted pair with braided shield for maximum twisted pair with braided shield for maximum conductivity. 6 mm PVC conductivity. 6 mm PVC jacketed. jacketed.

CBL-M25

25 ft length 3.3mm diameter shielded microphone cable for Micros Series and MicroBoom. Mini XLRf to standard XLRm.

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CBL-M25W

White, 25 ft length 3.3mm diameter shielded microphone cable for Micros Series and MicroBoom. Mini XLRf to standard XLRm.

CBL-BNC2

2 ft BNC extension cable for front mounting RAD360 wireless antennas. Includes mounting adapter.

CBL-M50

50 ft length 3.3mm diameter shielded microphone cable for Micros Series and MicroBoom. Mini XLRf to standard XLRm.

CBL-BNC25

25 ft coaxial cable (75 ohm) with BNC connectors for extending antennas on RAD360 receiver.

CBL-M50W

White, 50 ft length 3.3mm diameter shielded microphone cable for Micros Series and MicroBoom. Mini XLRf to standard XLRm.

CBL-G360

6 ft guitar cable for RAD360 bodypack. Mini XLRf - 1/4 inch jack.


Cases/Pouches

CASE-CX

CASE-DPA

Heavy duty aluminum road case. Includes foam tray for up to 11 microphones with open compartment for clips, cables, accessories.

Aluminum road case provided with CX212 holds microphone and shockmount. Also works with CX112.

P2 Oversized soft leatherette microphone carrying pouch with embossed Audix logo. Provided with all RAD360 wireless transmitters.

CASE-PH5 Padded canvas style bag with divider, accessory pouch, and carrying strap. Ideally suited for PH3-S and PH5-VS powered speakers or for use as a gig bag.

P1

Stock pouch provided with OM Series, D Series, ADX Series, i5, Fusion Series, Micros and VX Series.

CASE-360A Padded canvas carrying case provided with RAD360 wireless systems.

Clips/Mounts

DCLAMP

Flexible minigooseneck with drum tension lug mount. Includes DCLIP plastic clip for D Series.

DVICE Flexible minigooseneck with spring loaded rim mount clamp. Includes DCLIP plastic clip for D series. Provided with all D Series mic packs.

DCLAMP-MICRO Flexible minigooseneck lug clamp for drums, congas and percussion. Aluminum ring with rubber shockmount holder.

DVICE-MICRO

Optional flexible minigooseneck with spring loaded rim mount clamp for Micro D and Micros. Aluminum ring with rubber shockmount. Fits most drums with standard rims.

DCLIP Heavy duty nylon molded snap on clip provided with D Series, ADX51 & SCX series. May also be used with ADX112, ADX118, TR40 as well as DVice, DClamp and DFlex mounting clips.

HANGER-40 Black wire hanger provided with ADX40. Allows for hanging and placement of mic.

DFLEX

Dual pivot rim mounted clip with extra wide butterfly jaws. Attaches firmly to drums (both standard and rims mount), congas, mic stands, drum stands, goodie table. Comes stock with MC2 but can be used with any standard mic clip.

HANGER-40W White wire hanger provided with ADX40W. Allows for hanging and placement of mic.

DFLEX-MICRO

Optional DFlex mounting clip for Micros series. Dual pivot arm and extra wide butterfly jaws. Works with drums, percussion, stands, and piano rails.

MC1 Standard nylon molded clip with brass insert. Provided with all OM series, VX5, VX10, i5, CD11 and F50 mics.

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Clips/Mounts (cont.)

MC-112

MC10L

Optional alligator style lapel clip with spring tension wire loop for ADX10.

Mic stand adapter provided with CX112 and CX212. Includes thumb screw and threaded adapter that securely holds mic in place.

MC-20i

MC360T

MC-ADX

Gooseneck clip with shockmount provided with ADX20i microphone. Butterfly clamp attaches to bell of horn.

Nylon molded clip for RAD360 wireless transmitter.

Tie clip with plastic snap on mic holder provided with ADX10.

MC-BOOM

MC-FLUTE

MC-HANGER

MC-INSERT

Clutch assembly provided with MicroBoom.

Replacement clip for ADX10FL Flute mic. Fits standard size flutes

Clear plastic clip for use with the Micros Series. Allows mics to be utilized and positioned in a hanging position.

Adapts to any standard 5/8 in threaded clip to 3/8 in threads - used most commonly with European style mic stands.

MC-L5

Optional alligator style lapel clip with spring tension wire loop for L5.

MC-MICRO

Mic stand adatper for Micros series. Fits any 12 mm diameter mic.

MC-L53 Optional three position swivel tie clip for L5.

MC-UEM

Standard tension-fit mic clip provided with UEM81C and UEM81S. Includes thumb screw lugs to lock in place. Also can be used with ADX51, F15, and other standard pencil condenser microphones.

Impedence Transformers T50K

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Professional impedance matching transformer that allows a low impedance microphone (100-600 Ohms) to be connected to a high impedance input (10k - 50k Ohms)


Microphone Stands / Bases

ATS1

ATS1-LOGIC

Heavy duty shock absorbent table stand with XLR connector and programmable on/off switch.

Heavy duty shock absorbent table stand with XLR connector with programmable on/off switch and logic.

CAB GRABBER-XL

The Cab Grabber is a tension-fit microphone holder that clamps on to most combo amps or cabinets between 14-20 inches in depth. Can be used with any microphone weighing up to 16 ounces.

ATS-10 Heavy duty shock absorbent table stand with latching on/off LED switch and XLR connector.

STAND-KD

Short pedestal stand with telescoping boom arm. Ideal for kick drum and guitar cabs. Minimum height is 12.8 inches, maximum height is 21 inches and boom arm extends to 31 inches.

CAB GRABBER

The Cab Grabber is a tension-fit microphone holder that clamps on to most combo amps or cabinets between 8-14 inches in depth. Can be used with any microphone weighing up to 16 ounces.

STAND-MB

Pedestal stand with heavy duty weighted base. Ideally suited for use with the MicroBoom for presentation style vocal. Minimum height is 12.8 inches and maximum height is 21 inches.

Mounting Brackets

MB-3

Optional C-Clamp wall bracket for PH3-S powered speakers. Attaches at ends of speakers via thumb screws and allows for vertical or horizontal placement. Does not include wall mounting hardware.

SWB-101

Optional ball and socket mounting hardware for PH5-VS and PH3-S powered speakers. Mounts to side of speaker via threaded bolt and may be placed horizontally or vertically and angled as needed.

SWB-101W

Optional ball and socket mounting hardware for PH5VS-W powered speakers. Mounts to side of speaker via threaded bolt and may be placed horizontally or vertically and angled as needed.

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Phantom Power Adapters

APS-2

Two-channel 48 volt phantom power supply for condenser microphones. 110 volt switchable to 240 volt. Detachable power cord.

APS-910

48 volt phantom power adapter for use with electret condenser microphones. Provided with ADX40, Micro-D, HT2P, ADX10-FLP, ADX10-P, ADX20i-P, ADX60. Connectors are standard XLR-m to mini XLR-m.

APS-911

Optional phantom power adapter for use with electret condenser microphones, also runs on AA batteries when phantom power is not available. Features on-off switch and bass roll off fliter. May be used with ADX40, Micro-D, HT2P, ADX20-FLP, ADX10-P, ADX20i-P or ADX60. Connectors are standard XLR-m to mini XLR-m.

Power Supplies

PS-110R

Replacement DC power supply for RAD-360 wireless systems. 110VDC, 12V-350 milliamp.

PS-230R

European replacement DC power supply for RAD-360 wireless systems. 230VDC, 12V350 milliamp.

TAI2DC

Replacement DC power supply for PH3S powered speakers, 110VDC, 12V-1 amp.

Replacement DC power for PH3SE power speakers, 230VDC, 12V-1 amp.

Pop-Filters

PD133

Optional two-layer mesh pop diffuser for controlling acoustic plosives. Generally used with condenser microphones such as the CX112, CX212 and SCX25A. May be screwed directly onto any standard 5/8 inch mic stand or used with the 11 inch gooseneck which attaches to the mic stand.

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TAI2E

PS-UEM

Replacement preamp power supply for UEM81C and UEM81S


Replacement Grills

GR5

Replacement grill for VX5 with 2 stage pop filter. Also fits OM Series mics.

GR-357

Replacement grill ball with internal foam pop filter. For use with OM2, OM3, OM5, OM6 or OM7.

GR10

VX10 replacement grill with dual stage pop filter. Also fits OM Series mics.

GR-CD11

Replacement steel mesh grill ball for CD11

GR-D6N

Replacement grill for D6-Nickel. Machined aluminum, nickel plated finish.

GR11

GR-112

GR25

OM11 replacement grill with an internal foam pop filter. Also fits OM Series mics.

Replacement grill cover for CX112.

Black steel mesh replacement grill with internal foam pop filter for SCX25A. Each mic uses 2 grills.

GR-D2

Replacement grill cap for D2. Black mesh with internal foam windscreen.

GR-F50

Replacement grill ball for F50 with internal foam pop filter. Black.

GR-D4

Replacement grill cap for D4. Red color mesh with internal foam windscreen.

GR-FBALL

Replacement grill ball for FireBall and FireBallV. Red internal foam pop filter.

GR-D6

Replacment grill for D6 and D6-Silver. Machined aluminum, black anodized finish.

GR-i5

Replacement steel grill cap for i-5.

Shockmounts

SMT-25

Optional low profile shockmount system with nylon cable and thumbscrew for positioning. Works with Audix models SCX25A, SCX1, ADX51, TM1.

SMT-CX112

Heavy duty aluminum caged shockmount system with nylon cable designed for CX112 and CX212. May be used safely with microphone in any position.

SMT-MICRO

Optional mic stand adapter with rubber shockmount housed within an aluminum ring. May be used with any of the Micros Series mics. Attaches to any standard 5/8 in threaded mic stand.

SMT-1218R

Optional rubber insulated shockmount for use with the ADX212, ADX218 or MicroPods. Required permanent installation with a drilled hole of 2 inches in diameter. Depth is approximately 2 inches.

MC19

Optional low profile shockmount clip with thumbscrew for positioning. Available for TM1.

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Windscreens

WS5

External foam windscreen for reducing wind, sibilance, and pop noise. Black. Provided with the ADX5.

WS20

External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the ADX40. Optional for the ADX212, ADX218, and all Micros Series mics. Very low profile.

WS90

External foam windscreen for reducing wind, sibilance, and pop noise. Black. Provided with the F90.

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WS10

External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the ADX10, ADX10-P, ADX10FL, ADX10FL-P, Micro-D, ADX20-i and ADX20i-P.

WS20-W White external foam windscreen for reducing wind, sibilance, and pop noise. Provided with the ADX40W, M1245W and M1250W.

WS-CX

Optional external foam windscreen for reducing wind, sibilance, and pop noise. Black. Fits the CX112 and CX212.

WS1218 External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the ADX212 and ADX218. Also fits all Micros Series mics.

WS357

Optional high quality external foam windscreen for reducing wind, sibilance, and pop noise. Fits over GR357 grill on OM Series mics.

WSHT2

External foam windscreen for reducing wind, sibilance, and pop noise. Black. Provided with the HT2 headset microphone.

WS1280S

External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the M1280S and M1250S shotgun Micros.

WS81C External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the UEM81C, SCX Series and ADX51.

WSi5

External foam windscreen for reducing wind, sibilance, and pop noise. Black. Provided with the i5. Fits D2 and D4 mics.

WS1281 Heavy duty, external foam windscreen for reducing wind, sibilance, and pop noise. Optional for the the ADX212 and ADX218. Also fits all Micros series mics.

WS81S

External foam windscreen for reducing wind, sibilance, and pop noise. Provided with the UEM81S shotgun microphone.

WSTM1 External foam screw on windscreen for reducing wind, sibilance, and pop noise. Available for TM1.


Glossary

AMPERE (AMP): Named after André-Marie Ampère, one of the main discoverers of electromagnetism. The ampere, more commonly referred to as amp, (symbol: A) is the SI unit of electric current. 1 amp (A) = 1 Coulumb of charge per second = 6.2414 million electrons flowing past a point in 1 second. To measure direct current (I) you divide the voltage (V) by the resistance (R). AUDIO: “I hear” in Latin. More commonly known as anything pertaining to sound. BALANCED: A circuit that carries information by means of two equal but opposite polarity signals, on two separate conductors. Concerning microphones this is accomplished generally by using a cable with two conductors and a shield. The advantage of a balanced circuit is that it helps to eliminate stray noise or hum coming from AC lines, lights, or other equipment. CAPACITANCE: The measure of the electrical effect of a capacitor. The SI unit of measure is the farad, named after Michael Faraday. CAPACITOR: An electronic circuit component that has the ability to store and electrical charge. The formula used to determine capacitance is C = Q/V where C is capacitance in farads, Q is the quantity of stored electrical charge in coulombs, and V is voltage. Therefore, stored electric charge can be calculated using the formula: Q = CV. The difference in potential or voltage of the capacitor can be calculated using the formula: V = Q/C

COIL: Also known as “voice coil.” The coil is comprised of wire of a specified type and size that is wound to a specified electrical inductance and placed (attached) beneath the diaphragm of the microphone capsule. It is the coil moving within the gap of a magnetic pole piece that transforms the audio sound wave into an electrical signal. This “moving coil” technology is the basis for dynamic microphones. CONDENSER MICROPHONE: Also known as a capacitor

microphone, operating on the principle of varying the capacitance between two plates: one solid, fixed metal plate and one very thin, flexible plastic diaphragm on to which has been deposited an extremely thin metal coating to make it electrically conductive. When the plates are electrically charged any movement of the diaphragm caused by vibrations in the air will cause the capacitance to change, and this change is then translated into a voltage and amplified to produce an audio signal. Q (electrical charge in coulombs) = C (capacity in farads) x V (voltage). CONDUCTANCE: The measure of how easily electricity flows along a certain path. The SI unit of measure is the siemens, named after the German inventor Werner von Siemens who is credited with making the first moving coil loudspeaker. CURRENT (ELECTRIC): Electric current is the flow of electric charge. Audio signals are always Alternating Current (AC), meaning the current reverses direction each time the signal waveform passes zero. In contrast, Direct Current (DC) from a battery always moves in same direction. The SI unit of electric current intensity is the ampere. DYNAMIC MICROPHONE: Also known as “moving coil” microphone; based on the principle of electromagnetic induction. When sound enters through the windscreen of the microphone, the sound wave moves the diaphragm. When the diaphragm vibrates, the coil moves in the magnetic field, producing a varying current in the coil through electromagnetic induction, thereby converting acoustic energy into an electrical signal. Dynamic microphones are robust, relatively inexpensive and resistant to moisture making them ideal for live sound reinforcement. ELECTRET (CONDENSER) MICROPHONE: Also known as a prepolarized condenser, whereby the back plate of the condenser is permanently charged. This advantage of an electret is that it

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can operate on lower voltages, can be battery operated, and can be miniaturized for a wide variety of applications. DECIBEL (dB): Named after Alexander Graham Bell, a decibel is literally one tenth of a bel. The bel is defined as the common logarithm of the ration of two powers. It is a relative term and is always tied to a specific reference. In acoustics, where 0 dB SPL is referred to as the threshold of hearing, here is a chart depicting various levels of sound in dB and corresponding Pascal. 0 dB = 0.00002 Pa 60 dB = 0.02 Pa 80 dB = .2 Pa 94 dB = 1 Pa 100 dB = 2 Pa 120 dB = 20 Pa 140 dB = 200 Pa

Threshold of Hearing Business Office Shop Noise Large Truck Jackhammer Airplane Take-Off Jet engine - threshold of Pain

DIAPHRAGM: The thin membrane in a microphone capsule that reacts to incoming sound waves. DYNAMIC RANGE: In condenser microphones, the measurement in dB of the maximum sound pressure a capsule can handle (before distortion) minus the noise floor (self noise) of the circuitry. FEEDBACK: Relative to acoustics, acoustic feedback is the condition that occurs when an amplified sound enters a microphone and is re-amplified until a steady howl or whistle is heard. FREQUENCY: The measurement in cycles per second at which sound repeats itself (vibrates). FREQUENCY RANGE: The range of frequencies that a microphone can reproduce, for example 50 Hz – 15 kHz. This figure should also be qualified by a +/-dB measurement such as +/-3 dB or +/- 6 dB. This result can vary dramatically depending on other factors such as +/- dB, proximity of the sound source to the capsule, directionality of the sound source to the capsule, sound pressure level of the sound source. FREQUENCY RESPONSE CURVE: An X-Y graph depicting how a microphone reacts to different frequencies. The plot is measured in dB on the vertical (X) axis, and hertz on the horizontal (Y) axis. Results can vary dramatically depending on where the measurements are conducted (free field, anechoic chamber, other), the source of the measurement equipment, proximity of the sound source to the capsule, directionality of the sound source to the capsule, sound pressure level of the sound source. GAIN: In electronics, gain is amount of increase in the power or amplitude of a signal by an amplifier. Also called voltage gain and current gain. Gain is usually expressed in decibels. GAIN BEFORE FEEDBACK: In a sound system, the level of gain that can be achieved in either the main speakers or the monitors

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before feedback occurs. HERTZ (Hz): Named after Heinrich Hertz, the SI symbol to indicate frequency at which sound vibrates in cycles per second. IMPEDANCE: Expressed in ohms, The measure of the total resistance to the current flow in an alternating current circuit. Most microphones are classified as being either high impedance (10,000 ohms or greater) or low impedance (50 ohms to 600 ohms). INDUCTANCE: The measure of the effect of an inductor. The SI unit of measure for inductance is the henry, named after American physicist Joseph Henry. INDUCTION: The electromagnetic process by which a varying magnetic field causes an electric current to exist in a conductor. INDUCTOR: An inductor is a passive electrical component that can store energy in a magnetic field created by the electric current passing through it. An inductor’s ability to store magnetic energy is measured by its inductance, in units of henries. Inductors are sometimes called “chokes” as they are used in audio circuits to filter out unwanted high frequency interference. An “ideal inductor” has inductance, but no resistance or capacitance, and does not dissipate energy. LOUDNESS: Like the decibel, loudness is a relative term. A widely used “rule of thumb” for the loudness of a particular sound is that the sound must be increased in intensity by a factor of ten for the sound to be perceived as twice as loud. A common way of stating it is that it takes 10 violins to sound twice as loud as one violin and then 100 violins to sound twice as loud again. OFF-AXIS REJECTION: The ability of a microphone to eliminate unwanted noise coming from the PA system or other instruments on stage. OHM: Named after the German physicist Georg Ohm, the ohm is the SI unit of measure for resistance (R). OHM’S LAW: Applies to electrical circuits; it states that the current through a conductor between two points is directly proportional to the potential difference (i.e. voltage drop or voltage) across the two points, and inversely proportional to the resistance between them. The mathematical equation that describes this relationship is: I = V/R where I is the current in amperes, V is the potential difference in volts, and R is the resistance (measured in ohms, also equivalent to volts per ampere). PASCAL (Pa): The SI unit of pressure named after French scientist Blaise Pascal, equal to 1 newton per square meter. International standards have established 1 pascal (Pa) as 94dB SPL. This reference point is now accepted for measuring the sensitivity and signal-to-noise ratio of microphones. In sound, 0 dB or the threshold of hearing is equal to 20 micropascal.


PHANTOM POWER: The ability to provide the voltage needed to power a condenser microphone through a standard 3 conductor microphone cable. The source is generally either a mixing console (mixer), a microphone preamp, or a standalone phantom power supply. PICKUP PATTERN – see POLAR PATTERN RESPONSE POLAR PATTERN RESPONSE: A chart or graph depicting a microphone’s sensitivity relative to the angle of an audio signal at a particular frequency. Types of polar patterns include cardioid, hypercardioid, omni-directional, figure-8, supercardioid and hemicardioid. A typical spec sheet will show the polar pattern of a microphone at a specific frequency of 1000 Hz with 94 dB SPL. The following charts below depict the most common polar patterns:

decibels. SENSITIVITY: Typically microphone sensitivity specifications are derived by producing a 1 kHz tone at a constant sound pressure level of 94 dB (1 pascal). This measurement is a miniscule figure expressed in mV/Pa (millivolts per pascal). The same measurement is sometimes shown terms of a negative – dB format which depicts an older standard using 74 dB of SPL (0.1 pascal) instead of 94 dB. SI: International Systems of Units, the world’s most widely used and oldest system of measurement. SIGNAL: An audio signal is a representation of sound waves in a different form. In microphones, the acoustic signal is converted to an electrical voltage and then converted back to an acoustic signal through the loudspeaker. SIGNAL TO NOISE RATIO: In condenser microphones, the ratio of the signal produced at 94 dB relative to the noise floor (self-noise) of the microphone’s circuitry, measured in terms of decibels.

Cardioid

Supercardioid

Omni

Hypercardioid

Figure 8

PAD: An electronic circuit or device designed to attenuate the output sensitivity of a microphone or microphone preamp. This allows more control at the microphone element and can prevent a loud signal from becoming distorted. PHASE: Phase refers to the comparison of two or more given wave forms in time. PHASE CANCELLATION: When two wave forms arrive at a given space at different times, it can cause some frequencies to cancel each other out. The result can be a thin, unnatural, and incomplete sound. In the case of microphones, when two microphones are placed in close proximity to each other (less than 18 inches apart for example), this phenomenon can occur. RESISTANCE: The characteristic of electronic conductors which resists or opposes electric current. See OHM. The reciprocal of resistance is conductance. RESISTOR: An electronic circuit component which resists or opposes the flow of an electrical current. A resistor has no appreciable inductance or capacitance. SELF-NOISE: Also known as “noise floor”. In condenser microphones, the inherent noise in a circuitry measured in

SOUND PRESSURE LEVEL (SPL): The relative measurement of sound in decibels where 0 dB = 20 micropascals = 0.0002 microbars. TRANSDUCER: A device that converts one form of energy into another. A microphone capsule, for example, converts acoustic energy to electrical. Conversely, a loudspeaker converts electrical energy back into acoustic. TRANSFORMER: A device consisting of two or more coils of wire wound on a common core of soft iron or other magnetically permeable material. In audio, transformers are utilized to step up audio voltages from a very low impedance device such as a microphone into a more suitable impedance for mixing boards, recording devices, or mic preamps. TRANSIENT: A rapid, non-repeating sound such as is created by the attack of a percussive musical instrument. TRANSIENT RESPONSE: The ability of a microphone to capture transients. UNBALANCED: A circuit that carries information by means of one signal on a single conductor. Unbalanced cable usually consists of a single conductor and a shield as in instrument cables, coaxial cable, patch cords, and high impedance mic cable. VOLT: Named in honor of the Lombard physicist Alessandro Volta (1745–1827) the volt is defined as the potential difference across a conductor when a current of one ampere dissipates one watt of power. All of the terms were complied from one or more of the following sources: Clifford, M (1986). Microphones. Blue Ridge Summit, PA: TAB Books Inc.. White, G (1995). The Audio Dictionary. Seattle, WA & London, England: University of Washington Press. Wikipedia: The Free Encyclopedia Web site: http://en.wikipedia.org

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Index

ALPHABETICAL ORDER

A ADX5 ADX10 ADX10-FLP ADX20i ADX12 ADX18 ADX40 ADX51 ADX60 APS-2 APS-910 APS-911 ATS1 ATS1-LOGIC ATS-10

66 67 36 37 70 70 68 44 69 84 84 84 83 83 83

B

90

C CABGRABBER CABGRABBER-XL CASE-360A CASE-BP CASE-CX CASE-DPA CASE-PH5 CBL-20 CBL-BNC2 CBL-BNC25 CBL-DR25 CBL-G360 CBL-M25 CBL-M25W CBL-M50 CBL-M50W CD11 CX112 CX212

83 83 81 81 81 81 81 80 80 80 80 80 80 80 80 80 15 45 46

D D2 D4 D6 DCLAMP DCLAMP-MICRO DCLIP DFLEX DFLEX-MICRO DP5A DP7

24 25 26 81 81 81 81 81 52 52

DP-ELITE 8 DVICE DVICE-MICRO

52 81 81

E

F f2 f5 f5 f9 F50 F90 FireBall™ FireBall V FP4 FP6 FP7

31 32 33 41 14 40 28 29 53 53 53

G GR5 GR10 GR11 GR112 GR25 GR357 GR-CD11 GR-D2 GR-D4 GR-D6 GR-D6N GR-F50 GR-FBALL GR-i5

85 85 85 85 85 85 85 85 85 85 85 85 85 85

H HANGER-40 HANGER-40W HT2 HT5

81 81 20 21

I i5

27

M44 M1250B M1255B M1280B MC1 MC10L MC-112 MC19 MC-20i MC360-T MC-ADX MC-BOOM MC-FLUTE MC-HANGER MC-INSERT MC-L5 MC-L53 MC-MICRO MC-UEM MG12 MG15 MG18 MICROBOOM MICROPODS MICRO-D

58 59 60 61 81 82 82 85 82 82 82 82 82 82 82 82 82 82 82 71 71 71 62 63 38

N O OM2 OM3 OM5 OM6 OM7 OM11

7 8 9 10 11 12

J

P P1 P2 PD133 PH3-S PH5-VS PS-110R PS-230R PS-UEM

81 81 84 78 79 84 84 84

K

Q

L

R RAD360

M

S SCX1 SCX25A SMT-1218R SMT-25 SMT-CX112 SMT-MICRO STAND-KD STAND-MB STUDIO ELITE 8 SWB-101 SWB-101W

47 48 85 85 85 85 83 83 55 83 83

T T50K TAI2DC TAI2E TM1

82 82 82 72

U UEM81C UEM81S USB12

73 74 75

V VX5 VX10

18 19

W WS5 WS10 WS1218 WS1280S WS1281 WS20 WS20-W WS357 WS81C WS81S WS90 WS-CX WS-HT2 WS-I5 WS-TM1

86 86 86 86 86 86 86 86 86 86 86 86 86 86 86

X Y

76, 77

Z


WARRANTY & SERVICE Unless otherwise noted in the products listed below, all Audix products purchased in the USA feature a one-year limited warranty. US One-year Limited Warranty: All Audix branded products purchased in the USA are guaranteed for one year from the date of purchase to be free of defects in materials and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge. Before returning any products to Audix for service, customers are required to obtain a Return Authorization (RA) number either by email or phone. 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. For RA approval please email service@audixusa.com or call 503-682-6933. Outside the USA, please contact the local dealer or distributor. US Three-year Limited Warranty: Audix condenser microphones (SCX series, CX series, Micros series, ADX series, VX series, Micro-D) purchased in the USA are guaranteed for three years from the date of purchase to be free of defects in materials and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge. Before returning any products to Audix for service, customers are required to obtain a Return Authorization (RA) number either by email or phone. 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.

For RA approval please email service@audixusa.com or call 503-682-6933. Outside the USA, please contact the local dealer or distributor. US Five-year Limited Warranty: All Audix VLM Dynamic Microphones (OM series, D series, i5, FireBallâ&#x201E;˘) purchased in the USA are guaranteed for five years from the date of purchase to be free of defects in materials and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge. Before returning any products to Audix for service, customers are required to obtain a Return Authorization (RA) number either by email or phone. 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. For RA approval please email service@audixusa.com or call 503-682-6933. Outside the USA, please contact the local dealer or distributor. CE Notice: All electronic products featured in the catalog comply with current CE standards.

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CALL: 503-682-6933 FAX: 503-682-7114 www.audixusa.com Audix Corporation P.O. Box 4010 Wilsonville, OR 97070 速Audix Corporation 2010. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation. Specifications subject to change without notice. Catalog # 070110

Audix Microphones Product Catalog  

Audix Microphones Product Catalog 2010

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