This new range of compact instrument mics from Audix offers a wide frequency response and the ability to withstand very high SPLs. Paul White takes a closer look.

The live sound industry is as guilty as any other of sticking with tried and tested products, even when better alternatives may be available, and in the D Series microphones, Audix claim to have come up with that better alternative. The three dynamic, hypercardioid microphones that make up this series are physically similar, but are designed for different jobs and therefore have different acoustic properties. However, the underlying technology is similar — all three employ Audix's Very Low Mass (VLM) Mylar diaphragms and very fine, precision wound voice coils to keep the moving mass to a minimum. Coupled with a specially designed internal air damping system and a transformerless design, this gives the mics an unusually wide frequency response, enabling them to respond well to the attack transients of percussion instruments.

Machined from solid aluminium, the microphone body is very compact, made possible in part by the transformerless output configuration, and this helps reach awkward spots around drum kits and so on. The end of the body terminates in an XLR connector with gold-plated pins. A stand clip is included, which attaches to the socket end of the mic, and a zip-up, padded fabric bag is supplied with each microphone.

Unscrewing the basket reveals the capsule, the end of which is protected by means of a very fine mesh. A thin piece of acoustic foam is positioned between the capsule and the outer wire basket; the capsule suspension seems surprisingly inflexible compared with most dynamic mics I've examined. There are no switches on these microphones.

THE MICROPHONES

All three mics have an incredibly wide quoted frequency response of 38Hz to 21kHz. Although no limits are quoted, examining the rather small graph that came with the technical details suggests that these might be the -6dB points.

The D1, which sports a silver mesh, has a sensitivity of -71.5dB (0dB = 1 V/microbar) and has a broad presence peak reaching a maximum at around 3kHz. This particular model is designed for applications where a good transient response is required; suggested uses include snare drums, cymbals, hi-hats, and flutes.

All three mics in the series have a very slight midrange dip at around 1 kHz, which may account for their big, lively sound — the resulting frequency response shape is not unlike that created by applying a loudness 'smile' curve with a graphic equaliser.

Recognisable by its black grille, the D2 has a very similar specification to the D1, except a low mid hump has been introduced at around 200Hz to add punch to toms, congas, and similar percussion instruments. Kick drum is also among the documented applications, although most dedicated kick drums would have their bass hump at a lower frequency, usually around 80Hz or so. Both the D1 and D2 have an off-axis rejection of better than 30dB — good for minimising spill and feedback — and both have a 250 Ohm output impedance. The maximum SPL for all three models is a massive 144dB.

"... these were amongst the most articulate dynamics I've tried, especially the D1 and D2.."

Unusually, the gold-grilled D3 makes a feature out of having a low sensitivity, the idea being to provide very low noise operation in high SPL situations. This is a mic that feels quite at home pressed up against the grille cloth of a guitar amp or looking down the business end of a brass instrument. Unlike the other two mics in the range, this one has no obvious presence peak, although it still has the slight mid-range dip. The sensitivity is some 3.5dB less than the other two mics in the range, and the output impedance is 150 Ohms rather than 250 Ohms.

All three models are hard anodized in black (Audix call this their 'e-coat') and weigh just 4.5oz. Obviously Audix feel they have come up with a reliable product, because they offer a lifetime warranty on microphone parts.

IN USE

Straightaway, I could tell that these were amongst the most articulate dynamics I've tried, especially the D1 and D2, which have their wide frequency response augmented by a presence peak. They are quite capable of picking up the detail in snare and cymbal sounds, but they also work surprisingly well on acoustic guitar, albeit developing a slightly hard tonality. The sensitivity of these two is on a par with other quality dynamic mics. In spite of the lack of a pop shield, they also do a surprisingly good job on vocals. If there is a criticism, it is that the presence peak does lend the sound a slightly hard edge, but in a live situation, this may well help the sound cut through a congested mix.

The low end boost of the D2 makes it well suited to mid-range percussion, although it may also be used on woodwind. To sum up the character of the D2, I'd have to say that it provides a useful mix of warmth and cut.

Moving on to the D3, this is noticeably less sensitive, but in the high SPL situations it's designed to handle, this is no bad thing. The less peaky high end produces a discernibly smoother sound, but at the expense of projection. The tonal balance is probably about right as the D3 is intended to mike fairly aggressive sounding instruments. This is a good mic for brass or backline amplification.

CONCLUSION

I've only tried a few Audix mics before, but I've always been impressed both by their build quality and by their sonic performance. The D Series does nothing to contradict that impression, and although they are not designed for tonal exactness, they are tailored to sound 'right' in specific live sound situations. They also perform well as studio mics, which means they are well suited to recording live concerts. Particularly impressive is the detailed articulation, most often associated with capacitor microphones, although to be ruthlessly fair, the high end lacks the smooth transparency of a good capacitor mic. Even so, to achieve this level of performance from a modestly priced, compact, and rugged stage mic is no mean achievement. I shall be keeping a close eye on Audix mics.

D Series £149 each inc VAT.

SCV London, (Contact Details)