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Audix DP-QUAD

4-Piece Drum Mic Package w/ Rim Mount, Mic Clips & Windscreens

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List price $825.00

$599.99

with warranty

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The Audix DP-QUAD Drum Mic Package:

With the DP-QUAD Drum Mic Package, Audix continues to prove its leadership in the percussion miking industry. This impressive pack of high-precision drum mics have been designed to fulfill the especially specific requirements of artists and engineers in both studio and live miking situations. The Audix DP-QUAD pack is a spectacularly effective combination of mics allows users to record the pure depth and imaging of a full drum kit. The QUAD utilizes the best of two miking techniques: close miking and overhead (ambient) miking.

Close Miking

The D6 for kick drum and the i5 for snare are widely-considered to be the two microphones every drummer must have. The kick and snare are considered the core of any drum kit and the foundation for every groove. Close miking insures that they will be captured in the mix. If either the kick or the snare is unable to be heard, there is simply no groove. Being high SPL dynamic microphones, the D6 and i5 excel at “close miking”. This miking technique is required in order to capture the attack and percussive sound of the drum. Also, by having the mic close to the source of the sound, it helps to isolate the sound of each drum and separate it from the rest of the kit.

Overhead (Ambient) Miking

Supporting the idea that “less is more”, there are many engineers who will use just two overhead mics to capture the natural sound of the complete drum kit. With two overhead mics, positioned correctly, it is absolutely true that you can capture the transients, tonality and balance of the kit in a completely phase-coherent manner. The ADX51, which is a pre-polarized condenser microphone with a 14mm gold sputtered diaphragm, is designed specifically with overhead applications in mind. Due to its cardioid pickup pattern, high sensitivity and slim pencil design, the two ADX51 mics can be easily positioned overhead to provide a nice stereo image of the entire drum kit.

The Blend

With contemporary music and with the volumes typically generated on stage, it is more practical and effective to create a blended effect of close miking and overhead miking – the exact intent of the DP-QUAD. The D6 will help provide the earthshaking lows and the attack of the kick; the i5 will reinforce the depth and crack of the snare; the overheads will pick up the high-hat, tom fills, cymbals and the ambiance of the entire kit. With the DP-QUAD, drums will maintain their sound integrity and critical presence, regardless of the size of the room and PA system.

Product Features:

  • All-in-one solution for miking drums
  • Instrument-specific mics for optimal results
  • Rugged Audix quality
  • Great for stage and studio
  • Includes road case
  • Also found as: DPQUAD
  • Authorized Internet Dealer
  • 1-year Manufacturer's Warranty

What's In The Box?

  1. (1) i5 snare mic
  2. (1) D6 kick mic
  3. (2) ADX51 overhead mics
  4. (1) DVICE rim mount with MC1 mic clip
  5. (3) DCLIP mic clips
  6. (2) WS81C windscreens

i5 Specifications:

  • Application(s):
    • Snare (top or bottom)
    • Toms
    • Hand Percussion
    • Guitar Cabs
    • Acoustic Instruments
  • Features:
    • Protective steel grill
    • Easy to set up and use
    • Clean
    • Accurate sound
  • Transducer Type: Dynamic VLM™ Type B
  • Frequency Response: 50 Hz - 16 kHz
  • Polar Pattern: Cardioid
  • Output Impedance: 150 ohms
  • Sensitivity: 1.5 mV / Pa @ 1 kHz
  • Maximum SPL (Sound Pressure Level): ≥140 dB
  • Off-Axis Rejection: =23 dB
  • Power Requirements: None
  • Housing / Finish: Die Cast Zinc Alloy / Black E-Coat
  • Weight: 8.8 oz. (250 g)

D6 Specifications:

  • Application(s):
    • Kick Drum
    • Floor Tom
    • Djembe
    • Cajon
  • Features:
    • Extended low end for larger drums
    • Accurate frequency response
    • Natural sound
  • Transducer Type: Dynamic VLM™ Type E
  • Frequency Response: 30 Hz - 15 kHz
  • Polar Pattern: Cardioid
  • Output Impedance: 280 ohms
  • Sensitivity: 0.8 mV / Pa @ 80 Hz
  • Maximum SPL (Sound Pressure Level): ≥144 dB
  • Off-Axis Rejection: =20 dB
  • Power Requirements: None
  • Housing / Finish: Machined Aluminum / Black Hard Coat
  • Weight: 9 oz. (255 g)

ADX51 Specifications:

  • Application(s):
    • Overheads
    • Hi-Hat
    • Cymbals
    • Goodie Table
  • Features:
    • Accurate reproduction of high frequency instruments
    • -10 dB pad bass roll-off filter
  • Transducer Type: Condenser
  • Frequency Response: 40 Hz - 18 kHz
  • Polar Pattern: Cardioid
  • Output Impedance: 100 ohms
  • Sensitivity: 17 mV / Pa @ 1 kHz
  • Maximum SPL (Sound Pressure Level): ≥132 dB
  • Off-Axis Rejection: =15 dB
  • Power Requirements: 9-52V Phantom
  • Housing / Finish: Machined Brass / Black E-Coat
  • Weight: 5.3 oz. (150 g)

User Tips:

The following are some ideas as to how the microphones in the pack interact with each other.

DP-QUAD [1 x i5, 1 x D6, 2 x ADX51]: This package is ideal for literally any 5 piece kit for stage or recording.

D6 - Kick Drum: To position the D6, a good starting point is a few inches inside the port of the front head with the mic pointing off-center and not directly at the beater. For more attack, move the mic closer towards the beater head. For more bass, pull the mic away from the beater head.

i5 - Snare: As a general rule, the i5 is meant to be close miked. A good starting point is 2 inches above the rim with the mic pointing towards the center of the head. For more “rim” sound, pull the mic back closer to the rim. For more resonance and depth of field, pull the mic further away from the head. The trick is to find the right balance between resonance and attack while still controlling bleed from the other drums.

ADX51s - As overheads: The most common positioning concept is to keep the snare as the focal point and move the mics into various left and right positions equal distance from the snare; 4 feet is a good starting point. For best results, keep the mics in a vertical position, keeping in mind that you are not necessarily just miking the cymbals but the whole kit. You will find after some experimentation that the kick, snare, and overheads will provide most of your sound while the tom mics are used for sweetening.

Note: To pick up more of the high-hat, you can change the balance of the mics by pulling the mic on the hi-hat side of your kit closer towards the high hat.

First Microphone Specifications

Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Drum Package
Designed Applications
The intended application the microphone is designed for.
Acoustic Guitar
Drums
Harmonica
Instruments
Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Cardioid
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Dynamic
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Top
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
50 - 16000 Hz
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
≥140 dB
Output Impedance
This is the amount of impedance that the microphone allows.
150 ohms
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
None
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
XLR

Second Microphone Specifications

Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Drum Package
Designed Applications
The intended application the microphone is designed for.
Drums
Kick Drum
Instruments
Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Cardioid
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Dynamic
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Top
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
30 - 15000 Hz
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
≥144 dB
Output Impedance
This is the amount of impedance that the microphone allows.
280 ohms
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
None
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
XLR

Third Microphone Specifications

Designed Applications
The intended application the microphone is designed for.
Acoustic Guitar
Bass Amps
Conferencing
Drums
Guitar Amps
Harmonica
Podcasting
Vocals
Spoken Word
Public Address
Instruments
Karaoke
Pad(s)
A pad is a term used for built in attenuation in a microphone or pro audio channel strip.
-10
Microphone Type
This is the type of microphone included with the purchase of the item.

Wireless:All of these microphones can be used without the necessity of wires or cables to connect them. They usually come with a receiver that connects to the input device where the audio signal is being sent.

Shotgun: These microphones are suspended on a boom and are used primarily in video production and broadcasting.

Lavaliere: These microphones are clipped on to the lapel or tie of the talent for broadcast and video production audio.

Table Top: These microphones are designed with a built in stand or to be placed on a table top stand to be used for broadcasting and podcasting applications.

Headset: These microphones are to be worn on the head typically for live performance and theater production.

Handheld: These microphones are held in the hand and are used in a wide range of applications primarily vocals and public address.

Clamp On: These microphones attach directly on to an instrument.

Drum Package: These microphones are an all in one package for drums typically made of dynamic Kick, Snare, Tom, and a stereo condenser pair of overhead mics for Cymbals.

Drum Package
Polar Pattern
The polar pattern of a microphone determines how sensitive it is to receiving sounds as they arrive at different angles.
Cardioid
Transducer Type
The transducer type is the manner in which the audio signal is converted into an electrical signal.
Condenser
Address Type
The configuration of the capsule determining on which side the microphone is sung or spoken into.
Top
Frequency Response
The range of frequencies the speaker will reproduce (lowest frequency to the highest). Bigger is better, meaning the wider the range, the better. The optimal range is 20 - 20,000 Hz (which is the range of human hearing).
40 - 18000 Hz
Maximum Sound Pressure Level (SPL)
This is the maximum sound pressure level that the microphone is capable of accepting and transferring into an electrical signal.
≥132 dB
Output Impedance
This is the amount of impedance that the microphone allows.
100 ohms
Power Requirement
Condenser microphones require an external power source to operate. Typically a +48v DC charge commonly refereed to as Phantom Power.
+48V (Phantom Power)
Connection Type
This is the manner in which the microphone connects to the source unit. For wired microphones, this is the connector that directly connects the microphone to the mixer (or other input source unit). For wireless microphones, this is the connection that connects the microphones receiver to the mixer (or other input source unit).
XLR

Warranty and Return Policy

Parts Warranty Duration
1 year
Labor Warranty Duration
1 year
Warranty Provider
Manufacturer

Summary of Customer Ratings & Reviews

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Product Summary

Manufacturer

Model Number

DP-QUAD

UPC

687471401149

Weight

9.00lbs

Internal SKU

dpquad

Internal Product ID

42895

Sonic Electronix Wiring Guide

Wiring Diagram Legend

Warning: The image depicted shows the resistance change when wiring multiple subwoofer terminals. Please refer to your subwoofer's owner's manual for the proper wiring of its terminals. Sonic Electronix, Inc. is not responsible for damage caused to your audio system or vehicle due to improper installation. Please call tech support at 1-877-289-7664 if you require additional assistance.

Product Name: Audix DP-QUAD

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