Audix Microphones Product Catalog

A U D I XM I C R O P H O N E SP R O D U C T C A T A L O G

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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. CastleCo-Founder, Audix Corporation

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CONTENTSVOCAL 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

3

VOCAL DYNAMIC

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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: OM2OM3OM5OM6OM7OM11F50CD11

DynamicOM 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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VOCAL

Dynamic

FREQUENCY / POLARS:

Transducer Type Dynamic Frequency Response 50 Hz - 16 kHz Polar Pattern Hypercardioid Output Impedance 250 ohms Sensitivity 1.7 mV / Pa @ 1kCapsule Technology VLM Type BOff Axis Rejection > 25 dBMaximum SPL ≥140 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 307 g / 10.8 ounces Length 176 mm / 6.9 inches

SPECIFICATIONS:

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.

OM2

SUPPLIED ACCESSORIES:Heavy duty nylon mic clip (MC1)

Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS357 - External foam

windscreenCBL-20 - 20’ XLR-XLR low noise

mic cableT50K - Low to high impedance

matching transformer

MODEL VARIATIONS:OM2-S - Same as above with

On-Off switch

(DIMENSIONS in mm)

7

DynamicOM3

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.

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.


Transducer Type DynamicFrequency Response 50 Hz - 18 kHz Polar Pattern Hypercardioid Output Impedance 250 ohms Sensitivity 1.7 mV / Pa @ 1k Capsule Technology VLM Type BOff Axis Rejection > 25 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 307 g / 10.8 ouncesLength 176 mm / 6.9 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Heavy duty nylon mic clip

(MC1)Carrying pouch (P1)


windscreenCBL-20 - 20’ XLR-XLR low

noise microphone cableT50K - Low to high impedance


MODEL VARIATIONS:OM3-S - Same as above with

On-Off switch

(DIMENSIONS in mm)

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VOCAL

DynamicOM5

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.

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.


Transducer Type DynamicFrequency Response 48 Hz - 19 kHz Polar Pattern Hypercardioid Output Impedance 200 ohms Sensitivity 1.8 mV / Pa @ 1k Capsule Technology VLM Type COff Axis Rejection >30 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 307 g / 10.8 ounces Length 176 mm / 6.9 inches

SPECIFICATIONS: FREQUENCY / POLARS:


Carrying pouch (P1)


windscreenCBL-20 - 20’ XLR-XLR low noise

microphone cableT50K - Low to high impedance


(DIMENSIONS in mm)

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DynamicOM6

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.

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.


Transducer Type DynamicFrequency Response 40 Hz - 19 kHz Polar Pattern Hypercardioid Output Impedance 200 ohms Sensitivity 1.5 mV / Pa @ 1kCapsule Technology VLM Type DOff Axis Rejection > 25 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 307 g / 10.8 ouncesLength 176 mm / 6.9 inches

SPECIFICATIONS:FREQUENCY / POLARS:


Carrying pouch (P1)


windscreenCBL-20 - 20’ XLR-XLR

microphone cableT50K - Low to high impedance


(DIMENSIONS in mm)

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VOCAL

DynamicOM7

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.

Transducer Type DynamicFrequency Response 48 Hz - 19 kHz Polar Pattern Hypercardioid Output Impedance 150 ohms Sensitivity 0.8 mV / Pa @ 1kCapsule Technology VLM Type COff Axis Rejection > 30 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 307 g / 10.8 ouncesLength 176 mm / 6.9 inches

SPECIFICATIONS: FREQUENCY / POLARS:


Carrying pouch (P1)


windscreenCBL20 - 20’ XLR-XLR mic

cable

(DIMENSIONS in mm)

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DynamicOM11

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.

Transducer Type: DynamicFrequency Response 50 Hz - 18 kHz Polar Pattern Hypercardioid Output Impedance 200 ohms Sensitivity 2.3 mV / Pa @ 1kCapsule Technology VLM Type BOff Axis Rejection > 30 dBMaximum SPL ≥140 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Machined brass / Black E-coat Weight 370 g / 13 ounces Length 179 mm / 7 inches

SPECIFICATIONS:

FREQUENCY / POLARS:


Carrying Pouch (P1)

OPTIONAL ACCESSORIES: WS357 - External foam windscreen

CBL-20 - 20’ XLR-XLR CableT50K - Low to high impedance


(DIMENSIONS in mm)

12

DynamicThere 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.

VOCAL13

WHICH OM MIC DO I CHOOSE?

DynamicF50

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.

FREQUENCY / POLARS:

Transducer Type DynamicFrequency Response 50 Hz - 16 kHz Polar Pattern Cardioid Output Impedance 250 ohms Sensitivity 2.5 mV/ Pa @ 1k Off Axis Rejection >20 dB @ 180o

Maximum SPL ≥ 138 dB Power Requirements NoneConnector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black E-coat Weight 312 g / 11 ouncesLength 169 mm / 6.7 inches

SPECIFICATIONS:

SUPPLIED ACCESSORIES:Mic Clip

Carrying pouch


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)

14

VOCAL

DynamicCD11

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 mid-size 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 Dynamic Moving CoilFrequency Response 60 Hz - 15 kHz Polar Pattern Cardioid Output Impedance 600 ohms Sensitivity 1.8 mV / Pa @ 1kOff Axis Rejection >20 dB @ 180o

Maximum SPL ≥128 dB Power Requirements NoneConnector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc Alloy / Black Satin Weight 226 g / 8 ounces Length 185 mm / 7.3 inches

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:ABS Mic Clip

20’ XLR-XLR microphone cable


windscreenT50K - Low to high impedance


(DIMENSIONS in mm)

15

VOCAL CONDENSER

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es 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: VX5VX10HT2HT5

CondenserVX5OVERVIEW: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.

SPECIFICATIONS:Transducer Type Pre-polarized CondenserFrequency Response 40 Hz - 16.5 kHz +/- 3 dB Polar Pattern Supercardioid Output Impedance 150 ohms Sensitivity at 1k 5 mV / PaEquivalent Noise Level 26 dB (A weighted)Signal to Noise Ratio 68 dBOff Axis Rejection >20 dBMaximum SPL ≥140 dB (w/ -10 pad)Power Requirements 9-52 voltsConnector Switchcraft® male XLR connectorPolarity Positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Die Cast Zinc / Black E-coatWeight 227 g / 8 ouncesLength 181 mm / 7.1 inches

FREQUENCY / POLARS:


Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS357 - External foam wind-

screenWS-i5 - External foam windscreen

SMT-25 - Shockmount clipAPS-2 - Two-channel phantom

power supplyCBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR-

XLR mic cable

(DIMENSIONS in mm)

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VOCAL

Condenser VX10OVERVIEW: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 CondenserFrequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Output Impedance 250 ohms Sensitivity VX10 - 24 mV / Pa @ 1k VX10-Lo - 4 mV / Pa @ 1kEquivalent Noise Level 19 dB (A weighted)Signal to Noise Ratio 75 dBOff Axis Rejection >20 dBMaximum SPL ≥138 dBDynamic Range 119 dBPower Requirements 48 - 52v phantomConnector Switchcraft® male XLR connectorPolarity Positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Die Cast Zinc Brass capsule housing/ Black E-coatWeight 318.6 g / 11.24 ouncesLength 180 mm / 7.1 inches

FREQUENCY / POLARS:

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 cableCBL-DR25 - 25’ right angle XLR-

XLR mic cable

(DIMENSIONS in mm)

19HANDHELD

Condenser

HT2OVERVIEW: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.

Transducer Type Pre-Polarized Condenser Frequency Response 50 Hz - 15 kHz Polar Pattern Supercardioid Output Impedance 250 Ohms balanced Sensitivity 5 mV / Pa @ 1k Equivalent Noise Level 26 dB (A weighted) Signal to Noise Ratio 68 dB Maximum SPL ≥140 dB Cable/Connector Miniature 3 pin or 4 pin (HT5-4PIN) XLRf connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Flexible steel alloy / Black Weight 68 g / 2.4 ounces

SPECIFICATIONS:

FREQUENCY / POLARS:

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)

20

Condenser

VOCAL

HT5OVERVIEW: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).

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.

Transducer Type Pre-Polarized Condenser Frequency Response 20 Hz - 20 kHz Polar Pattern Omni-directional Output Impedance 1000 Ohms balanced Sensitivity 5 mV / Pa @ 1k Equivalent Noise Level 26 dB (A weighted) Signal to Noise Ratio 68 dB Maximum SPL 140 dB Cable/Connector Miniature 3 pin or 4 pin (HT5-4PIN) XLRf connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Flexible steel alloy / Black or Beige Weight 1.1 oz / 31 grams

SPECIFICATIONS:

FREQUENCY / POLARS:

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’ cableterminating with 3 pin mini-XLR

HT5-BG - Same as above in beigeHT5-4PIN - 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)

21HEADSET

INSTRUMENT DYNAMIC

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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: D2D4D6i5FireBallTM

FireBall Vf2f5f6

IN STRUMENT

DynamicD2

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.

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

SPECIFICATIONS: FREQUENCY / POLARS:Transducer Type DynamicFrequency Response 44 Hz - 18 kHz Polar Pattern Hypercardioid Output Impedance 250 ohms Sensitivity 1.2 mV / Pa @ 1kCapsule Technology VLM Type BOff Axis Rejection >30 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Machined Aluminum / Black Hard Coat Weight 128 g / 4.5 ounces Length 100 mm / 3.9 inches

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

Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS-i5 - External foam windscreen

TRIPOD - Mic standDFLEX - All purpose percussion

clampDVICE - Spring loaded rim mount

clampDCLAMP - Tension rod mic clamp

CBL-DR25 - 25’ right angle XLR cableSTAND-KD - Adjustable short boom

mic standCAB GRABBER - Tension held mic

holder, clamps to guitar cabinets

(DIMENSIONS in mm)

24

IN STRUMENT

Dynamic

2525

D4OVERVIEW: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.



SPECIFICATIONS:Transducer Type DynamicFrequency Response 40 Hz - 18 kHz Polar Pattern Hypercardioid Output Impedance 200 ohms Sensitivity 1.4 mV / Pa @ 1kCapsule Technology VLM Type DOff Axis Rejection >20 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Machined Aluminum / Black Hard Coat Weight 128 g / 4.5 ouncesLength 100 mm / 3.9 inches

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Tension-fit heavy duty nylon mic clip

(DCLIP)Carrying pouch (P1)

OPTIONAL ACCESSORIES: WS-i5 - External foam windscreen

TRIPOD - Tripod mic standDFLEX - All purpose percussion

clampDVICE - Spring loaded rim mount

clampDCLAMP - Tension rod mic clamp

CBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR-XLR

mic cableSTAND-KD - Adjustable kick drum

mic standCAB GRABBER - Tension held mic

holder, clamps to guitar cabinets

(DIMENSIONS in mm)

Dynamic

IN STRUMENT

D6OVERVIEW: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.



SPECIFICATIONS:Transducer Type DynamicFrequency Response 30 Hz - 15 kHz Polar Pattern Cardioid Output Impedance 200 ohms Sensitivity 0.8 mV / Pa @ 80 HzCapsule Technology VLM Type EOff Axis Rejection >20 dBMaximum SPL ≥144 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Machined Aluminum / Black Hard Coat Weight 217 g / 7.7 ouncesLength 117 mm / 4.6 inches

FREQUENCY / POLARS:

26

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

Carrying pouch (P1)

OPTIONAL ACCESSORIES: TRIPOD- Tripod mic stand

DFLEX - All purpose percussion clampDVICE - Spring loaded rim mount clamp

STAND-KD - adjustable kick drum mic stand

CBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR-XLR mic

cable

MODEL VARIATIONS:D6-Nickel - same as above with a

nickel finishD6-Silver - same as above with a

silver finish

(DIMENSIONS in mm)

Dynamic

IN STRUMENT27

i5OVERVIEW: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 DynamicFrequency Response 50 Hz - 16 kHz Polar Pattern Cardioid Output Impedance 150 ohms Sensitivity 1.5 mV / Pa @ 1kCapsule Technology VLM Type BOff Axis Rejection > 23 dBMaximum SPL ≥ 140 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Die cast Zinc Alloy / Black E-coatWeight 183 g / 6.5 ouncesLength 141.5 mm / 5.6 inches

FREQUENCY / POLARS:


Carrying pouch (P1)

OPTIONAL ACCESSORIES: DFLEX - All purpose percussion clamp

DVICE - Spring loaded rim mount clampDCLAMP - Tension rod mic clampWS-i5 - External foam windscreen

CBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR mic cable

CAB GRABBER - Tension held mic holder, clamps to guitar cabinets

(DIMENSIONS in mm)

IN STRUMENT

Dynamic

28

FireBall™OVERVIEW: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.

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. 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.

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.

Transducer Type Dynamic Moving CoilFrequency Response 50 Hz - 16 kHz Polar Pattern Cardioid Output Impedance 150 ohms Sensitivity 1.5 mV / Pa @ 1k Capsule Technology VLM Type BOff Axis Rejection > 23 dBMaximum SPL ≥140 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Machined Aluminum / AnodizedWeight 128 g / 4.5 ouncesLength 77.5 mm / 3.05 inches


SUPPLIED ACCESSORIES:Heavy duty press fit mic clip

(DCLIP)Carrying pouch (P1)


DVICE - Spring loaded rim mount clamp

DCLAMP - Tension rod mic clampCBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR

mic cableCBL-BP360 - 4’ adapter cable for

RAD360 Wireless BodypackT50K- High quality low-high

impedance transformer

(DIMENSIONS in mm)

IN STRUMENT

Dynamic

29

Transducer Type Dynamic Moving CoilFrequency Response 50 Hz - 16 kHz Polar Pattern Cardioid Output Impedance 150 ohms Sensitivity 1.5 mV / Pa @ 1kCapsule Technology VLM Type BOff Axis Rejection > 23 dBMaximum SPL ≥140 dB Power Requirements NoneConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Zinc die cast / Black E-coatWeight 140 g / 5 ouncesLength 99.5 mm / 3.9 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

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 tension-fit 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.

FireBall VSUPPLIED ACCESSORIES:

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



DCLAMP - Tension rod mic clampCBL-20 - 20’ XLR-XLR mic cable

CBL-DR25 - 25’ right angle XLR-XLR mic cable

CBL-BP360 - 4’ adapter cable for RAD360 Wireless BodypackT50K - High quality low-high

impedance transformer

(DIMENSIONS in mm)

Dynamic

IN STRUMENT30

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.

Dynamic

IN STRUMENT31

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 mid-high 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.

Transducer Type DynamicFrequency Response 52 Hz - 15 kHz Polar Pattern Hypercardioid Output Impedance 580 ohms Sensitivity 2 mV / Pa @ 1k Capsule Technology LMTM Type AOff Axis Rejection >20 dBMaximum SPL ≥139 dB Power Requirements None 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 connectorHousing / Finish Cast zinc alloy / Black E-Coat Weight 247 g / 8 ounces Length 104 mm / 4.09 inches

FREQUENCY / POLARS:

f2SPECIFICATIONS:

SUPPLIED ACCESSORIES:Carrying pouch (P1)

OPTIONAL ACCESSORIES: TRIPOD - Tripod mic stand

DFLEX - All purpose percussion clamp


DCLAMP - Tension rod mic clampCBL-20 - 20’ XLR - XLR mic cable

CBL-DR25 - 25’ right angle XLR - XLR mic cable

(DIMENSIONS in mm)

IN STRUMENT

Dynamicf5

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 interference-free performance even with long cable runs.

SPECIFICATIONS:Transducer Type DynamicFrequency Response 55 Hz - 15 kHz Polar Pattern Hypercardioid Output Impedance 580 ohms Sensitivity 2.2 mV / Pa @ 1k Capsule Technology LMTM Type AOff Axis Rejection >20 dBMaximum SPL ≥137 dB Power Requirements NoneConnector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Cast zinc alloy / Black E-Coat Weight 283 g / 10 ouncesLength 145 mm / 5.7 inches

FREQUENCY / POLARS:

32





DCLAMP - Tension rod mic clampCBL-20 - 20’ XLR-XLR mic cableCBL-DR25 - 25’ right angle XLR-

XLR mic cable

(DIMENSIONS in mm)

IN STRUMENT

Dynamicf6

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.

SPECIFICATIONS:Transducer Type DynamicFrequency Response 40 Hz - 16 kHz Polar Pattern Hypercardioid Output Impedance 580 ohms Sensitivity 6 mV / Pa @ 80 Hz Capsule Technology LMTM Type AOff Axis Rejection >23 dBMaximum SPL ≥ 140 dB Power Requirements None 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 connectorHousing / Finish Cast zinc alloy / Black coat Weight 311 g / 11 ounces Length 121 mm / 4.76 inches

FREQUENCY / POLARS:

33


OPTIONAL ACCESSORIES: STAND-KD - adjustable kick drum

mic standTRIPOD - Tripod mic stand



DCLAMP - Tension rod mic clampCBL-20 - 20’ XLR-XLR mic cable


(DIMENSIONS in mm)

INSTRUMENTCONDENSERS

Inst

rum

ent

Co

nd

ense

r M

icro

ph

on

es

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-FLPADX20iMICRO-DF90

Pencil:f9

IN STRUMENT

CondenserADX10FL-POVERVIEW: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.

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.

Transducer Type Pre-Polarized Condenser Frequency Response 50 Hz - 18 kHz Polar Pattern Cardioid Output Impedance 800 Ohms balanced Sensitivity 4.5 mV / Pa @ 1k Equivalent Noise Level 25 dB (A weighted) Signal to Noise Ratio 69 dB Power Requirements 9 - 52 Volts phantom Maximum SPL ≥120 dB Cable/Connector Shielded 3’ 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 Brass / Black E-Coat Weight 110 g / 4 ounces Length 25 mm / .98 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

36

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

MODEL VARIATIONS: ADX10FL - As above, less

power supply, for use with RAD-360 wireless

(DIMENSIONS in mm)

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 dBMaximum SPL @ .5% THD 135 dB Power Requirements 9 - 52 V phantomConnector 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 BrassGooseneck Flexible Steel Weight 48 g / 1.7 ouncesLength 29 mm / 1.14 inches

IN STRUMENT

Condenser ADX20i-POVERVIEW: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.

SPECIFICATIONS:

FREQUENCY / POLARS:

37

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)

MINIATURE

IN STRUMENT

CondenserMicro-DOVERVIEW: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 @ 1kSignal/Noise Ratio (A-weighted) 70 dB Equivalent Noise Level (A-weighted) 24 dBMaximum SPL @ .5% THD ≥140 dB Power Requirements 9 – 52 V phantomConnector 3 pin gold plated male XLR connectorPolarity 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 ouncesLength 30 mm / 1.14 inches

FREQUENCY / POLARS:

38

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 standsAPS-911 - Battery/phantom

preamplifier with on/off switch and bass roll-off

(DIMENSIONS in mm)

IN STRUMENT

Condenser

39MINIATURE

[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.

FEATURESThe 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 USEAudix 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!

SUMMARYThe 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.

PRO AUDIO REVIEW OF AUDIX MICRO-D

IN STRUMENT

Condenser

40

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.

Transducer Type CondenserFrequency Response 50 Hz - 18 HzPolar Pattern CardioidOutput Impedance 250 OhmsSensitivity 8.8 mV / Pa @ 1kEquivalent Noise Level 29 dB (A weighted)Signal to Noise Ratio 65 dB Power Requirements 9 - 52 Volts phantomMaximum SPL ≥135 dBCable/Connector Mini 3 pin gold plated XLRf connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Brass / Black E-CoatWeight 170 g / 6 ouncesLength 147 mm / 5.1 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Cylindrical preamplifier for

use with phantom power (APS90)

External foam windscreen6’ attached shielded cable with

mini XLRf connector

(DIMENSIONS in mm)

F90

Transducer Type Pre-polarized condenserFrequency 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 dBEquivalent Noise Level 22 dB (A weighted)Signal to Noise Ratio 69 dBDynamic Range 115 dBMaximum SPL ≥137 dB Power Requirements 12-48 volts phantomConnector 3 pin male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Cast zinc alloy/ Black CoatWeight 91 g /3.2 ounces Length 111 mm / 4.37 inches

IN STRUMENT

Condenser

41

f9OVERVIEW: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 interference-free performance even with long cable runs. The f9 operates on phantom power of 12-48 volts.

SPECIFICATIONS:

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Tension-fit heavy duty nylon mic

clip (DCLIP)Carrying pouch (P1)


DFLEX - All purpose percussion clampDVICE - Spring loaded rim mount

clampDCLAMP - Tension rod mic clampCBL-20 - 20’ XLR - XLR mic cable


SMT-25 - Shockmount suspension clipWS81C - External foam windscreen

APS-2 - Two-channel phantom power supply

(DIMENSIONS in mm)

STUDIO CONDENSERS

ADX51CX112CX212SCX1SCX25A

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esAudix 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:

Condenser

OVERVIEW: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.

SPECIFICATIONS:Transducer Type Pre-polarized condenserFrequency Response 40 Hz - 18 kHz Polar Pattern Cardioid Output Impedance 100 ohms Sensitivity 17 mV / Pa @ 1k Capsule Technology Black plate electretOff Axis Rejection >15 dBMaximum SPL ≥132 dB Power Requirements 9-52 volts phantomConnector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Brass / Black E-Coat Weight 184 g / 6.5 ouncesLength 160 mm / 6.3 inches

FREQUENCY / POLARS:

ADX51SUPPLIED 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 clampDCLAMP - Tension rod mic clampCBL-20 - 20’ XLR - XLR mic cable


SMT-25 - Shockmount suspension clipAPS-2 - Two-channel phantom

power supply

(DIMENSIONS in mm)

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Condenser

STUDIO

CX112

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 48-52 volts. Optimum results will be achieved by using the CX-112 with a high quality mic preamplifier and premium quality microphone cable.

Transducer Type CondenserCapsule Technology 1.07”/27mm Gold Vapor DiaphragmFrequency Range 20 Hz - 20 kHz (+/- 3 dB)Polar Pattern CardioidOutput Impedance 200 OhmsSensitivity 14 mV / Pa @ 1kEquivalent Noise Level 18 dB (A weighted)Signal to Noise Ratio 76 dBPower Requirements 48-52 volts phantomMaximum SPL ≥145 dBDynamic Range 127 dBCable/Connector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Brass / Black satinWeight 450 g / 16 ounces Length 163 mm / 6.42 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Adjustable one piece metal clip

(MC-112) Foam-lined wood case

(CASE-WOOD)

OPTIONAL ACCESSORIES:WS-112 - External foam

windscreenAPS-2 - Two-channel phantom

power supplyPD-133 - Pop Diffuser

TRIPOD - Tripod StandSMT-CX112 - Isolation shockmount

MODEL VARIATIONS: CX-112 MP - Matched stereo pair.

Allows for a wide variety of stereo miking techniques

(DIMENSIONS in mm)

45

Condenser

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.

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.

Transducer Type CondenserCapsule Technology 1.07”/27mm Gold Vapor DiaphragmFrequency Range 30 Hz - 20 kHzPolar Pattern Multi-PatternOutput Impedance 200 OhmsSensitivity Omni - 11 mV / Pa @ 1k Cardioid - 16 mV / Pa @ 1k Figure 8 - 11 mV / Pa @ 1kEquivalent Noise Level 18 dB (A weighted)Signal to Noise Ratio 76 dBPower Requirements 48-52 volts phantomMaximum SPL ≥132 dBDynamic Range 110 dBCable/Connector 3 pin gold plated male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connectorHousing / Finish Brass / Black satinWeight 480 g / 17 ouncesLength 172 mm / 6.78 inches

SPECIFICATIONS:

Cardioid Figure 8 Omni

FREQUENCY / POLARS:

46

SUPPLIED ACCESSORIES:Adjustable one piece metal clip

(MC-112) Isolation shockmount (SMT-CX112)

OPTIONAL ACCESSORIES:WS-112 - External foam

windscreenAPS-2 - Two-channel phantom

power supplyPD-133 - Pop Diffuser

TRIPOD - Tripod mic stand

(DIMENSIONS in mm)

CX212

Condenser

STUDIO47

SCX1OVERVIEW: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. 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.

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.

SPECIFICATIONS:Transducer Type CondenserFrequency Response 40 Hz - 20 kHzPolar Pattern Cardioid Output Impedance 200 ohms Sensitivity 26 mV / Pa (SCX1-C) @ 1k 17 mV / Pa (SCX1-HC) @ 1k 15.5 mV / Pa (SCX1-O) @ 1kEquivalent Noise Level 14 dB (A weighted)Signal to Noise Ratio 80 dBMaximum SPL 130 dBDynamic Range 116 dBPower Requirements 48-52 voltsConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Brass / Multi-layer Class ‘A’ liquidWeight 114 g / 4 ounces Length 104 mm / 4.1 inches

Cardioid Hypercardioid Omni

FREQUENCY / POLARS:

SUPPLIED ACCESSORIES:Foam lined wooden case

(CASE-WOOD) Heavy duty snap on nylon mic clip

External foam windscreen (WS81C)

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 systemPD-133 - Pop diffuser

P1 - Carrying pouch

(DIMENSIONS in mm)

CondenserSCX25A

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.

SPECIFICATIONS:Transducer Type CondenserFrequency Response 20 Hz - 20 kHzPolar Pattern Cardioid Output Impedance 200 ohms Sensitivity at 1k 28 mV / PaEquivalent Noise Level 14 dB (A weighted)Signal to Noise Ratio 80 dBMaximum SPL ≥135 dBDynamic Range 121 dBPower Requirements 48-52 volts phantomConnector Switchcraft® male XLR connectorPolarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector Housing / Finish Machined Brass / Multi-layer Class ‘A’ liquidWeight 170 g / 6 ouncesLength 148 mm / 5.8 inches

FREQUENCY / POLARS:

48

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

supplyDFLEX - Dual pivot clip for piano mounting

STAND-KD - Pedestal boom standSMT-25 - Shockmount system

PD-133 - Pop diffuserCBL-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)

Condenser

49STUDIO

“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

THE SCX25A...“...DESTINED TO BECOME A CLASSIC.”

Dennis Leonard, Supervising Sound Editor, Skywalker Sound

“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

“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

“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

MICROPHONE PACKS

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sIn 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: DP5aDP7DP-Elite8FP4FP5FP7SCX25A-PSStudio-Elite8

MicPacksDP SERIES

DRUM

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.

DP5ASET OF 5 DRUM MICS

Aluminum road case1 x i5 snare mic2 x D2 tom mics

1 x D4 floor tom mic1 x D6 kick mic

4 x DVICE gooseneck clips1 x MC1 mic clip

1 x DCLIP mic clip

DP7SET OF 7 DRUM MICS


1 x D4 floor tom mic1 x D6 kick drum mic

2 x ADX51 overhead mics4 x DVICE gooseneck clips

1 x MC1 mic clip3 x DCLIP mic clips

2 x WS81C windscreens

DP Elite 8SET OF 8 DRUM MICS


1 x D4 floor tom mic1 x D6 kick drum mic

2 x SCX1-C overhead mics1 x SCX1-HC hi-hat mic

4 x DVICE gooseneck clips1 x MC1 mic clip

4 x DCLIP mic clips3 x WS81C windscreens

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MicPacks

DRUM

FUSION SERIESPRE-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.

FP4SET OF 4 DRUM MICSAluminum road case

3 x f2 tom mics, kick mic1 x f5 snare mic1 x MC1 mic clip

3 x DCLIP mic clips


3 x f2 toms, floor tom mics1 x f5 snare mic

1 x f6 kick drum mic1 x MC1 mic clip

4 x DCLIP mic clips


3 x f2 toms, floor tom mics1 x f5 snare mic

1 x f6 kick drum mic2 x f9 overheads, high hat mics

1 x MC1 mic clip6 x DCLIP mic clips

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IN STRUMENT

MicPacks

54

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.

SCX25A-PS

RECOMMENDED POSITIONING OPTIONS:

POSITION 1 POSITION 2

IN STRUMENT

MicPacksPROFESSIONAL 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.

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.

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

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Studio Elite 8PACKAGED 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

MICROS™ SERIES

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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: M44M1250BM1255BM1280MicroBoom™MicroPods™

MICR OS™ SERIES

CondenserM44OVERVIEW: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.

Transducer Type Condenser Frequency Response 50 Hz - 19 kHz Polar Pattern Cardioid Hypercardioid Output Impedance 150 ohms Sensitivity 3 mV / Pa @ 1kSignal/Noise Ratio (A-weighted) 69 dB Equivalent Noise Level (A-weighted) 21 dBMaximum SPL @ .5% THD ≥150 dB Dynamic Range 125 dB Power Requirements 18 – 52 VConnector 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’ liquidWeight 20 g / 0.7 ouncesLength 54 mm / 2.1 inches

SPECIFICATIONS:

Cardioid Hypercardioid

FREQUENCY / POLARS:

58

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 lengthMGN-18 - Same as above in 18 inch length

MODEL VARIATIONS: M44-HC - Same as above with hypercardioid capsule

(DIMENSIONS in mm)

MICR OS™ SERIES

Condenser

59

M1250BOVERVIEW: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 Condenser Frequency Response 50 Hz - 19 kHz Polar Pattern Cardioid Hypercardioid Omni SupercardioidOutput Impedance 150 ohms Sensitivity 10 mV / Pa (C) @ 1k 10 mV / Pa (HC) @ 1k 11 mV / Pa (O) @ 1kSignal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dBMaximum SPL @ .5% THD ≥140 dB Dynamic Range 119 dB Power Requirements 18 – 52 VConnector 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’ liquidWeight 20 g / 0.7 ouncesLength 54 mm / 2.1 inches

FREQUENCY / POLARS:


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 ringMC20i - 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 lengthMGN-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 whiteM1250B-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)

Shotgun

MICR OS™ SERIES

CondenserM1255BOVERVIEW: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.

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.

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.

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 @ 1kSignal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dBMaximum SPL @ .5% THD ≥130 dB Dynamic Range 109 dB Power Requirements 18 – 52 VConnector 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’ liquidWeight 20 g / 0.7 ounces Length 54 mm / 2.1 inches

FREQUENCY/POLARS:


60




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 lengthMGN-18 - Same as MGN-6 in 18 inch length

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

(DIMENSIONS in mm)

Shotgun

MICR OS™ SERIES

Condenser

61

M1280OVERVIEW: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.

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.

SPECIFICATIONS:Transducer Type Condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Hypercardioid Omni Supercardioid (Shotgun)Output Impedance 150 ohms Sensitivity 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 dBMaximum SPL @ .5% THD ≥150 dB Dynamic Range 129 dB Power Requirements 48 – 52 VConnector 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’ liquidWeight 28 g / 1 ounceLength 90 mm / 3.5 inches


FREQUENCY / POLARS:

Shotgun




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 XLRmMGN-12 - Same as MGN-6 in 12 inch lengthMGN-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

(DIMENSIONS in mm)

MICR OS™ SERIES

CondenserMicroBoomTM

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.

62

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)

(DIMENSIONS in mm)

MB50

MB84

SPECIFICATIONS:Material Rod Carbon FiberGooseneck SteelConnectors BrassLength of MB50 50” / 1270mmLength of MB84 84” / 2134mmDiameter .20” / 7.4mmConnectors Bottom: Mini-xlr male Top: Mini-xlr femaleWeight 2.5 ounces / 78 grams 4 ounces / 111 grams (without mic or clip)Finish Non-reflective black

MICR OS™ SERIES

Condenser

63

MicroPodTM

SPECIFICATIONS (M1250B):Transducer Type Condenser Frequency Response 50 Hz - 19 kHz Polar Pattern Cardioid HypercardioidOutput Impedance 150 ohms Sensitivity 10 mV / Pa (C) @ 1k 10 mV / Pa (HC) @ 1k 11 mV / Pa (O) @ 1kSignal/Noise Ratio (A-weighted) 73 dB Equivalent Noise Level (A-weighted) 21 dBMaximum SPL @ .5% THD ≥140 dB Dynamic Range 119 dB Power Requirements 18 – 52 VConnector 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 inchesLength 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.

(Pictured with ATS-10 Stands)

SUPPLIED ACCESSORIES: Flange table mount (TM1218)


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 supplyWS1251 - 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 gooseneckMicropod12HC - as above with M1250B Hypercardioid mic

Micropod18 - M1250B Cardioid mic with 18 inch gooseneck Micropod18HC - as above with M1250B Hypercardioid mic

REPLACEMENT CAPSULES: CPSMICROC - Cardioid

CPSMICROHC - Hypercardioid

(DIMENSIONS in mm)

INSTALLED SOUND

Inst

alle

d M

icro

ph

on

es 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: L5ADX10ADX40ADX60ADX12 ADX18MG SERIESTM1UEM81CUEM81SUSB12

INSTAL LED SOUND

CondenserL5OVERVIEW: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.

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.

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.

FREQUENCY / POLARS:

66

SUPPLIED ACCESSORIES:Tie clip (MC-ADX5)


APS-910 - Phantom power adapter (for L5P and L5O-P )

OPTIONAL ACCESSORIES: MC-L253 - Mic Clip

APS-910 - Phantom power adapterAPS-911 - Battery / Phantom power adapter

with on / off switch and bass roll-off

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) 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

SPECIFICATIONS:

INSTAL LED SOUND

Condenser ADX10OVERVIEW: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.

Transducer Type Pre-Polarized Condenser Frequency Response 50 Hz - 18 kHz Polar Pattern Cardioid Output Impedance 800 Ohms balanced Sensitivity 4.5 mV / Pa @ 1k Equivalent Noise Level 25 dB (A weighted) Signal to Noise Ratio 69 dB Power Requirements 9 - 52 Volts phantom Maximum SPL ≥120 dB Cable/Connector Shielded 3’ 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 Brass / Black E-Coat Weight 110 g / 4 ounces Length 25 mm / .98 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

67

SUPPLIED ACCESSORIES:Tie clip (MC-ADX)


OPTIONAL ACCESSORIES: MC10L - Metal clip with tension fit wire

loopAPS-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)

CondenserADX40OVERVIEW: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).

Transducer Type Condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Hypercardioid (ADX40-HC) Output Impedance 250 Ohms balanced Sensitivity 5 mV / Pa @ 1k Equivalent Noise Level 29 dB (A weighted) Signal to Noise Ratio 65 dB Power Requirements 9 - 52 Volts phantom Maximum SPL ≥130 dB Cable/Connector Shielded 30’ 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 Brass / Black E-Coat Weight 110 g / 4 ounces Length 30 mm / 1.2 inches


68

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

connectorCarrying 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 blackADX40W-HC - Hypercardioid capsule in

white

(DIMENSIONS in mm)

INSTAL LED SOUND

CondenserADX60 Transducer Type Pre-Polarized Condenser Frequency Response 50 Hz - 18 kHz Polar Pattern Cardioid Output Impedance 250 Ohms balanced Sensitivity 5 mV / Pa @ 1k Equivalent Noise Level 29 dB (A weighted) Signal to Noise Ratio 65 dB Power Requirements 9 - 52 Volts phantom Maximum SPL ≥130 dB Cable/Connector Miniature 3 pin XLRm connector Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Die Cast Zinc / Black E-Coat Weight 143 g / 5 ounces Length 80 mm / 3.14 inches

SPECIFICATIONS:

FREQUENCY / POLARS:OVERVIEW: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.

69

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

(DIMENSIONS in mm)

INSTAL LED SOUND

CondenserADX12 & 18OVERVIEW: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.

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.

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.

Transducer Type Pre-Polarized Condenser Frequency Response 40 Hz - 18 kHz Polar Pattern Cardioid Hypercardioid (ADX12-HC or ADX18-HC) Output Impedance 250 Ohms balanced Sensitivity 24 mV / Pa @ 1k Equivalent Noise Level 28 dB (A weighted) Signal to Noise Ratio 66 dB Power Requirements 9 - 52 Volts phantom Maximum SPL ≥120 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 Housing/Finish Machined Aluminum and Brass / Black matte Weight 113 g / 4 ounces (ADX12) 159 g / 5.6 ounces (ADX18) Length 403 mm / 16 inches (ADX12) 558 mm / 22 inches (ADX18)

SPECIFICATIONS:

FREQUENCY / POLARS:

70

SUPPLIED ACCESSORIES:Flange table mount (TM1218)


OPTIONAL ACCESSORIES: ATS-10 - Table stand

SMT1218R - Rubber insulated shockmount

DCLIP - Mic stand adapterAPS-2 - Two-channel phantom

power supply

MODEL VARIATIONS:ADX12-HC / ADX18-HC - Same

as above with Hypercardioid capsule

(DIMENSIONS in mm)

INSTAL LED SOUND

Condenser

7171

MG12,15 & 18OVERVIEW: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)


OPTIONAL ACCESSORIES: ATS-10 - Table stand

SMT1218R - Rubber insulated shockmount

DCLIP- Mic stand adapterAPS-2 - Two-channel phantom

power supply

(DIMENSIONS in mm)

Transducer Type Pre-Polarized Condenser Frequency Response 60 Hz - 19 kHz Polar Pattern Cardioid Hypercardioid (MG12-HC, MG15-HC & MG18-HC) Output Impedance 150 Ohms balanced Sensitivity 32 mV / Pa @ 1k Equivalent Noise Level 22 dB (A weighted) Signal to Noise Ratio 72 dB Power Requirements 18 - 52 Volts phantom Maximum SPL ≥130 dB Dynamic Range 108 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 Housing/Finish Machined Brass / Black matte Weight 118 g / 4.16 ounces (MG12) 126 g / 4.44 ounces (MG15) 134 g / 4.73 ounces (MG18) Length 415 mm / 16.3 inches (MG12) 480 mm / 18.9 inches (MG15) 570 mm / 22.4 inches (MG18)

SPECIFICATIONS:

INSTAL LED SOUND

Condenser

72

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 omni-directional 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:

FREQUENCY / POLARS:

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)

TM1

Transducer Type Pre-Polarized Condenser Frequency Response 20 Hz - 25 kHz +/-2dB Polar Pattern Omni-directional Output Impedance 200 Ohms Open Circuit Sensitivity 6.5mV / Pa @ 1k Equivalent Noise Level 28 dB (A weighted) Signal to Noise Ratio 66 dB Distortion 114 dB SPL 1% Power Requirements 9 - 52 Volts phantom Maximum SPL 130 dB with distortion < 1% 140 dB Max Cable/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 4 piece precision machined brass Nickel Weight 132 g / 4.7 ounces Length 150 mm / 5.9 inches

INSTAL LED SOUND

Condenser

73

UEM81COVERVIEW: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.

Transducer Type Pre-Polarized Condenser Frequency Response 40 Hz - 20 kHz Polar Pattern Cardioid Output Impedance 600 Ohms Sensitivity at 1k 4 mV / Pa Equivalent Noise Level 27 dB (A weighted) Signal to Noise Ratio 82 dB Power Requirements AA Battery Maximum SPL ≥128 dB Connector 3 pin gold plated male XLR Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Aluminum / Black E-Coat Weight 236.6 g / 8 ounces Length 225 mm / 8.9 inches

SPECIFICATIONS:

FREQUENCY / POLARS:

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)

INSTAL LED SOUND

Condenser

74

Transducer Type Pre-Polarized Condenser Frequency Response 20 Hz - 20 kHz Polar Pattern Supercardioid Output Impedance 600 Ohms Open Circuit Sensitivity 4 mV / Pa Equivalent Noise Level 24 dB (A weighted) Signal to Noise Ratio 79 dB Power Requirements AA Battery Maximum SPL ≥128 dB Connector 3 pin gold plated male XLR Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 Housing/Finish Aluminum / Black E-Coat Weight 396.9 g / 14 ounces Length 435 mm / 17.1 inches

UEM81SOVERVIEW: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:

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 cable1 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:

INSTAL LED SOUND

Transducer Type Pre-Polarized CondenserFrequency Response 50 Hz- 16 kHzPolar Pattern CardioidOutput Impedance 1000 OhmsOpen Circuit Sensitivity 1.3 mV / Pa Signal to Noise Ratio 64 dB, 1k @ 1 PaMaximum SPL @ 1% THD 115 dBDynamic Range 85 dBOperating Voltage 5 Volts via USB connectionSwitch Type MembraneOn/Off Switch Function Push To Talk (PTT) or Push To Lock (PTL)Roll-off Filter @150 HzSampling Rate 16 bit, 44.1k / 48k for both playback and recordingHousing / Finish Brass Matte black White (USB12-W)Weight 567 g / 20 ouncesLength 310 mm / 12.2 inches

Condenser USB12OVERVIEW: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.

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

SPECIFICATIONS:

FREQUENCY/POLARS:

SUPPLIED ACCESSORIES:6’ USB cable (CBL-USB6)

External windscreen (WS20)

MODEL VARIATIONS: USB12-W - Same as above

in white

OPTIONAL CAPSULES:CPSADXC - Cardioid

CPSADXHC - HypercardioidCPSADXO - Omni-

directional

(DIMENSIONS in mm)

75INSTAL LED SOUND

WirelessOVERVIEW: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.

The RAD-360 handheld transmitters are constructed with durable metal housings and feature legendary performance of the OM-series 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.

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.htmlReceipt or use of this product acknowledges acceptance of the FCC regulations. For further questions, you may contact Audix.

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 -RAD360RRM2 - Rack mount kit for 2 -RAD360R

CBL-RM1 - 3’ antenna extension cable with BNC connectorsADS-4 - Antenna Distribution System (for up to 4 systems)

AB1 - UHF antenna boosterANT-D360 - Active UHF directional antenna paddle

CBL-G360 - 3’ Guitar cable for bodypack

SYSTEM COMPONENTS: R360 UHF true diversity receiver

B360 UHF bodypackT360 - UHF hand held transmitter (without capsule assembly)

T363 - UHF Handheld transmitter with OM3 capsuleT365 - UHF Handheld transmitter with OM5 capsuleT366 - UHF Handheld transmitter with OM6 capsuleT367 - UHF Handheld transmitter with OM7 capsule

T363-CA - OM3 Capsule assembly for handheld transmitterT365-CA - OM5 Capsule assembly for handheld transmitterT366-CA - OM6 Capsule assembly for handheld transmitterT367-CA - OM7 Capsule assembly for handheld transmitter

LAVALIER & SPECIALTY MICROPHONES for RAD360 BODYPACK:ADX5 - Black omni lavalier with 3’ cable

ADX10 - ADX10 cardioid lavalier with 3’ cableHT2 - Headset mic with 3’ cable

HT5 - Slim line omni headset microphone–blackHT5-BG - Slim line omni headset microphone–beige

ADX20i - ADX20i Instrument mic with 3’ cable

(DIMENSIONS in mm)

RAD360

76

Wireless

RAD360

SPECIFICATIONS:Frequency Range Switchable Frequencies Freq Response Signal To Noise Ratio Compander System Pilot Tone R360 ReceiverReceiving System Image Rejection Signal-to-noise Ratio Total Harmonic Distortion Sensitivity Intermediate Frequency Audio Output (AF Level set at “0”)Output Connectors

Nominal Peak Deviation

Adjacent Channel Rejection Intermodulation Spacing Image Rejection Power Supply Dimensions

Net Weight T360 Handheld Microphone TransmitterRF Power OutputSpurious EmissionsBattery (not included)Current ConsumptionBattery Life Max Sound Pressure Level Dimensions

Net WeightB360 Bodypack TransmitterRF Power Output Spurious EmissionsInput ConnectorInput ControlsBatteryCurrent ConsumptionBattery Life Input ImpedanceMax Sound Pressure LevelDimensions

Net Weight

614 MHz - 638 MHz & 638 MHz–662 MHz193 (per system group of 24 MHz spaced 125 kHz apart)

40 Hz–18 kHz (depending on capsule)>110 dB

HDX32.768 kHz

Dual tuners, true diversity receiver50 dB nominal, 45 dB minimum

110 dB @ 30 kHz deviation (IEC-weighted), max modulation 75 kHz1% (10 kHz deviation at 1 kHz)

26 dBμV (S/N 60 dB at 5 kHz deviation, IEC-weighted) <2.5μV55.875 MHz, 10.7 MHz

Unbalanced: 40 mV (at 1 kHz, 10kHz deviation, 10k ohm load)Balanced: 8mV (at 1 kHz, 10kHz deviation, 600 ohm load)

Unbalanced: 1/4” phone jackBalanced: XLR

Balanced: -24 to +18dBuUnbalanced: -30 to +12dBu (adjustable in 6 dB-steps)

>68 dB>68 dB>72 dB

120V AC 60 Hz; 12-18V DC, 350 mA, with external supply8.35” (W) x 1.1” (H) x 6.5” (D)

212mm (W) x 38mm (H) x 165 mm (D)2.32 lbs / 1050 g

50 mW Max< -54 dBm2- AA 1.5 V

100 mA typicalApproximately 12 hours (depending on battery type and usage)

>140 dB (depending on capsule)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) (without battery) 12.35 oz / 350 g

50 mW MaxUnder federal regulations

3 pin mini-XLRMic/line switch, and 20 dB potentiometer

(not included) 2- AA 1.5 V100 mA typical

Approximately 12 hoursMic: 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

Bodypack with ADX10

Lavalier

Bodypack with ADX20i Condenser

Bodypack with HT2 Headset

Interchangeable Head

Assemblies

77

SpeakersOVERVIEW: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

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 terminalsEnclosure Bass reflex design Enclosure material ABS composite with metal grillFinish BlackDimensions (WxHxD): 4.7”x7.5”x4.7” Net weight (pair): 8lbs / 3.6Kg

SPECIFICATIONS:

FREQUENCY / POLARS:

PH3-S

PO WERHOUSE78

Speakers

PO WERHOUSE

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 mid-range 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).

SUPPLIED ACCESSORIES:AC power cord

6 ft. speaker cable with 1/4 inch plug

OPTIONAL ACCESSORIES: SWB101 - Wall or ceiling mount swivel brack-

etsCASE-PH5 - Cordura padded carrying case

w/ shoulder strap

MODEL VARIATIONS:PH5VS-W - Same as above in white

Power 25 watt stereo amplifierFrequency 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 magnetPower 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 terminalsEnclosure Bass reflex design Enclosure material ABS composite with metal grillFinish Black / White (PH5VS-W) Dimensions (WxHxD): 6.3”x9.3”x6.5” Net weight (pair): 11lbs / 5Kg

SPECIFICATIONS:

FREQUENCY / POLARS:

PH5-VS

79

Cables

CBL-BNC22 ft BNC extension

cable for front mounting RAD360 wireless anten-nas. Includes mounting

adapter.

CBL-BNC2525 ft coaxial cable (75 ohm) with BNC

connectors for extending antennas on

RAD360 receiver.

CBL-G3606 ft guitar cable for RAD360 bodypack. Mini XLRf - 1/4 inch

jack.

CBL-M2525 ft length 3.3mm diameter shielded

microphone cable for Micros Series and

MicroBoom. Mini XLRf to standard XLRm.

CBL-M25WWhite, 25 ft length

3.3mm diameter shielded microphone cable for Micros Series and MicroBoom. Mini

XLRf to standard XLRm.

CBL-M5050 ft length 3.3mm diameter shielded

microphone cable for Micros Series and

MicroBoom. Mini XLRf to standard XLRm.

CBL-M50WWhite, 50 ft length

3.3mm diameter shielded microphone cable for

Micros Series and MicroBoom. Mini XLRf to

standard XLRm.

CBL-2020 ft premium XLR-XLR

balanced mic cable. Quad conductor, twisted pair with braided shield for maximum

conductivity. 6 mm PVC jacketed.

CBL-DR2525 ft Premium right angled

XLR-XLR balanced mic cable. Quad conductor,

twisted pair with braided shield for maximum

conductivity. 6 mm PVC jacketed.

Micr

ophone

Wire

less

Micr

osTM

Accessories

80

Cases/Pouches

Clips/Mounts

MC1Standard nylon molded clip with brass insert. Provided with all OM series, VX5, VX10, i5, CD11 and F50 mics.

CASE-DPAHeavy duty aluminum road

case. Includes foam tray for up to 11 microphones with open

compartment for clips, cables, accessories.

CASE-PH5Padded 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.

P2Oversized soft leatherette

microphone carrying pouch with embossed Audix logo. Provided with all RAD360

wireless transmitters.

P1Stock pouch provided with OM Series, D Series, ADX Series, i5, Fusion Series,

Micros and VX Series.

CASE-CXAluminum road case provided with CX212

holds microphone and shockmount.

Also works with CX112.

DCLAMPFlexible mini-

gooseneck with drum tension lug mount.

Includes DCLIP plastic clip for D Series.

DCLAMP-MICROFlexible mini-

gooseneck lug clamp for drums, congas and percussion.

Aluminum ring with rubber shockmount

holder.

DCLIPHeavy 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.

DFLEXDual 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.

DFLEX-MICROOptional DFlex mounting

clip for Micros series. Dual pivot arm and extra

wide butterfly jaws. Works with drums, percussion, stands, and piano rails.

DVICEFlexible mini-

gooseneck with spring loaded rim mount

clamp. Includes DCLIP plastic clip for D series.

Provided with all D Series mic packs.

DVICE-MICROOptional flexible mini-gooseneck with spring

loaded rim mount clamp for Micro D and Micros.

Aluminum ring with rubber shockmount. Fits most drums with

standard rims.

CASE-360APadded canvas carrying

case provided with RAD360 wireless systems.

HANGER-40Black wire hanger

provided with ADX40. Allows for hanging and

placement of mic.

HANGER-40WWhite wire hanger

provided with ADX40W. Allows for hanging and

placement of mic.

81

MC-FLUTEReplacement clip for ADX10FL Flute mic.

Fits standard size flutes

MC-HANGERClear plastic clip for use with the Micros Series. Allows mics

to be utilized and positioned in a hanging

position.

MC-INSERTAdapts to any standard

5/8 in threaded clip to 3/8 in threads - used most

commonly with European style mic stands.

MC-MICROMic stand adatper for

Micros series. Fits any 12 mm diameter mic.

MC-UEMStandard 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.

Clips/Mounts (cont.)

Impedence Transformers

T50KProfessional impedance matching

transformer that allows a low impedance microphone (100-600 Ohms)

to be connected to a high impedance input (10k - 50k Ohms)

MC360TNylon molded clip

for RAD360 wireless transmitter.

MC-ADXTie clip with

plastic snap on mic holder provided with

ADX10.

MC-BOOMClutch assembly

provided with MicroBoom.

MC-112Mic stand adapter pro-vided with CX112 and

CX212. Includes thumb screw and threaded

adapter that securely holds mic in place.

MC-20iGooseneck clip with

shockmount provided with ADX20i microphone. Butterfly clamp attaches

to bell of horn.

MC10LOptional alligator style lapel clip with spring tension wire loop for

ADX10.

82

MC-L53Optional three

position swivel tie clip for L5.

MC-L5Optional alligator style lapel clip with spring tension wire loop for

L5.

Mounting Brackets

MB-3Optional 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-101Optional 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-101WOptional 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.

Microphone Stands / Bases

CAB GRABBERThe 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-KDShort pedestal stand with

telescoping boom arm. Ideal for kick drum and gui-tar cabs. Minimum height is 12.8 inches, maximum height is 21 inches and boom arm extends to 31

inches.

STAND-MBPedestal 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.

83

CAB GRABBER-XLThe 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.

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.

ATS1 ATS1-LOGICHeavy duty shock

absorbent table stand with latching on/off LED switch

and XLR connector.

ATS-10

Power Supplies

PS-110RReplacement DC power

supply for RAD-360 wireless systems. 110VDC, 12V-350

milliamp.

PS-230REuropean replacement DC power supply for

RAD-360 wireless systems. 230VDC, 12V-

350 milliamp.

TAI2DCReplacement DC power

supply for PH3S powered speakers, 110VDC,

12V-1 amp.

TAI2EReplacement DC

power for PH3SE power speakers, 230VDC,

12V-1 amp.

Pop-Filters

PD133Optional 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.

84

Phantom Power Adapters

APS-2Two-channel 48 volt phantom power supply for condenser

microphones. 110 volt switchable to 240 volt.

Detachable power cord.

APS-91048 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-911Optional 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.

PS-UEMReplacement preamp

power supply for UEM81C and UEM81S

Shockmounts

SMT-25Optional low profile

shockmount system with nylon cable and thumbscrew for positioning. Works with

Audix models SCX25A, SCX1, ADX51, TM1.

SMT-CX112Heavy duty aluminum

caged shockmount system with nylon cable designed for CX112 and

CX212. May be used safely with microphone in any

position.

SMT-MICROOptional 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.

GR-F50Replacement grill ball for F50 with internal

foam pop filter. Black.

GR-FBALLReplacement grill ball for FireBall and Fire-BallV. Red internal

foam pop filter.

GR-i5Replacement steel grill

cap for i-5.

GR-CD11Replacement steel

mesh grill ball for CD11

GR-D2Replacement grill cap

for D2. Black mesh with internal foam wind-

screen.

GR-D4Replacement grill cap

for D4. Red color mesh with internal foam

windscreen.

GR-D6Replacment grill for

D6 and D6-Silver. Machined aluminum, black anodized finish.

GR-D6NReplacement grill for D6-Nickel. Machined

aluminum, nickel plated finish.

GR-357Replacement grill ball with internal foam pop

filter. For use with OM2, OM3, OM5, OM6 or

OM7.

GR-112Replacement grill cover

for CX112.

GR5Replacement grill for VX5 with 2 stage pop

filter. Also fits OM Series mics.

GR10VX10 replacement

grill with dual stage pop filter. Also fits OM

Series mics.

GR25Black steel mesh

replacement grill with internal foam pop filter for SCX25A. Each mic

uses 2 grills.

GR11OM11 replacement grill with an internal foam

pop filter. Also fits OM Series mics.

Replacement Grills

SMT-1218ROptional 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. 85

MC19Optional low profile

shockmount clip with thumbscrew for positioning. Available

for TM1.

WS81SExternal foam windscreen for reducing wind,

sibilance, and pop noise. Provided with the UEM81S shotgun

microphone.

WS90External foam windscreen for reducing wind,

sibilance, and pop noise. Black. Provided

with the F90.

WSHT2External foam windscreen for reducing wind,

sibilance, and pop noise. Black. Provided with the HT2 headset

microphone.

WS-CXOptional external foam windscreen for reduc-

ing wind, sibilance, and pop noise. Black. Fits the CX112 and CX212.

WS5External foam windscreen for reducing wind,

sibilance, and pop noise. Black. Provided

with the ADX5.

WS10External 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.

WS1218External foam

windscreen for reducing wind, sibilance, and pop noise. Provided with the

ADX212 and ADX218. Also fits all Micros Series

mics.

WS1280SExternal foam windscreen for reducing wind,

sibilance, and pop noise. Provided with

the M1280S and M1250S shotgun

Micros.

WS20 WS20-WWhite external foam

windscreen for reduc-ing wind, sibilance, and

pop noise. Provided with the

ADX40W, M1245W and M1250W.

WS357Optional high quality

external foam windscreen for reducing wind,

sibilance, and pop noise. Fits over GR357 grill on OM

Series mics.

WS81CExternal foam windscreen for reducing wind,

sibilance, and pop noise. Provided with

the UEM81C, SCX Series and ADX51.

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.

Windscreens

WS1281Heavy duty, external

foam windscreen for re-ducing wind, sibilance, and pop noise. Optional for the the ADX212 and

ADX218. Also fits all Micros series mics.

WSi5External foam windscreen for reducing wind,

sibilance, and pop noise. Black. Provided with the i5. Fits D2 and

D4 mics.

86

WSTM1External foam screw

on windscreen for reducing wind,

sibilance, and pop noise. Available for

TM1.

GlossaryAMPERE (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

87

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 Threshold of Hearing60 dB = 0.02 Pa Business Office80 dB = .2 Pa Shop Noise94 dB = 1 Pa Large Truck100 dB = 2 Pa Jackhammer120 dB = 20 Pa Airplane Take-Off140 dB = 200 Pa 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

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.

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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:

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

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.

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

Cardioid Omni Hypercardioid

Supercardioid Figure 8

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IndexALPHABETICAL ORDER

A ADX5 66ADX10 67ADX10-FLP 36ADX20i 37ADX12 70ADX18 70ADX40 68ADX51 44ADX60 69APS-2 84APS-910 84APS-911 84ATS1 83ATS1-LOGIC 83ATS-10 83

B

C CABGRABBER 83CABGRABBER-XL 83CASE-360A 81CASE-BP 81CASE-CX 81CASE-DPA 81CASE-PH5 81CBL-20 80CBL-BNC2 80CBL-BNC25 80CBL-DR25 80CBL-G360 80CBL-M25 80CBL-M25W 80CBL-M50 80CBL-M50W 80CD11 15CX112 45CX212 46

D D2 24D4 25D6 26DCLAMP 81DCLAMP-MICRO 81DCLIP 81DFLEX 81DFLEX-MICRO 81DP5A 52DP7 52

DP-ELITE 8 52DVICE 81DVICE-MICRO 81

E

F f2 31f5 32f5 33f9 41F50 14F90 40FireBall™ 28FireBall V 29FP4 53FP6 53FP7 53

G GR5 85GR10 85GR11 85GR112 85GR25 85GR357 85GR-CD11 85GR-D2 85GR-D4 85GR-D6 85GR-D6N 85GR-F50 85GR-FBALL 85GR-i5 85

H HANGER-40 81HANGER-40W 81HT2 20HT5 21

I i5 27

J

K

L

M

M44 58M1250B 59M1255B 60M1280B 61MC1 81MC10L 82MC-112 82MC19 85MC-20i 82MC360-T 82MC-ADX 82MC-BOOM 82MC-FLUTE 82MC-HANGER 82MC-INSERT 82MC-L5 82MC-L53 82MC-MICRO 82MC-UEM 82MG12 71MG15 71MG18 71MICROBOOM 62MICROPODS 63MICRO-D 38

N

O OM2 7OM3 8OM5 9OM6 10OM7 11OM11 12

P P1 81P2 81PD133 84PH3-S 78PH5-VS 79PS-110R 84PS-230R 84PS-UEM 84

Q

R RAD360 76, 77

S SCX1 47 SCX25A 48SMT-1218R 85SMT-25 85SMT-CX112 85SMT-MICRO 85STAND-KD 83STAND-MB 83STUDIO ELITE 8 55SWB-101 83SWB-101W 83

T T50K 82TAI2DC 82TAI2E 82TM1 72

U UEM81C 73UEM81S 74USB12 75

V VX5 18VX10 19

W WS5 86WS10 86WS1218 86WS1280S 86WS1281 86WS20 86WS20-W 86WS357 86WS81C 86WS81S 86WS90 86WS-CX 86WS-HT2 86WS-I5 86WS-TM1 86

X

Y

Z

90

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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 [email protected] 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.


US Five-year Limited Warranty:

All Audix VLM Dynamic Microphones (OM series, D series, i5, FireBall™) 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.


CE Notice:

All electronic products featured in the catalog comply with current CE standards.

WARRANTY & SERVICE

CALL: 503-682-6933 FAX: 503-682-7114

www.audixusa.com

Audix CorporationP.O. Box 4010 Wilsonville, OR 97070

®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

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