4-Piece Drum Mic Package w/ Rim Mount, Mic Clips & Windscreens
4-Piece Drum Mic Package • Includes Rim Mount, Mic Clips, Windscreens & Road Case • i5 Snare Mic • D6 Kick Drum Mic • 2 x ADX51 Overhead Mics
Learn more about the dpquad4-Piece Drum Mic Package • Includes Rim Mount, Mic Clips, Windscreens & Road Case • i5 Snare Mic • D6 Kick Drum Mic • 2 x ADX51 Overhead Mics
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 MikingThe 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) MikingSupporting 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 BlendWith 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.
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.
Internal Product ID:
42895