Audix BP7 Pro Microphone Set feature combinations of VLM dynamic microphones designed to work in tandem with instruments and vocals during live performances. Every sound check begins with the kick drum, the focal point for the rest of the mix. Consequently, the D6 is the heart of the Band Pack system. The i5, excellent for snare, guitar and bass cabinets and a wide variety of instruments, is essential to both collections. The Band Packs are completed with the OM5 and OM2 microphones, for lead and background vocals.
It is imperative that sound engineers and bands use critical judgment when choosing their performance microphones. Audix has eliminated any guesswork by creating a consortium of complimenting, application specific professional microphones - BP7 PRO Band Packs.
The i5 boasts a tight (cardioid) pick-up pattern helping to eliminate sounds on stage from "bleeding" into the microphone. This mic is exceptionally useful with drums and percussion as it is able to accurately capture the sound of each component of the kit. The i5 is also well-matched for mlking guitar cabinets, handling very high sound pressure levels without distortion.
Start with the i5 about 2" above the head and aimed toward the center of the drum. For more "rim" effect, the i5 can be aimed less toward the center and more toward the rim. It is not uncommon for engineers to place the mic nearly right on the drum head to achieve a very tight, cracking sound.
Similar to snare. For tighter sound and more attack, place the mic closer to the head. To decrease the decay and overtones, pull the mic further away from the drum head.
The i5 can be placed about 1-2 inches from the grill cover at a 90 degree angle pointing directly into the speaker. If the mic is placed closer to the edge of the speaker higher frequencies will be minimized and a warmer, fatter tone is achieved. To capture more highs, move the mic closer toward the center of the speaker, avoiding the middle of the speaker.
Place the mic within 1-3" from the bell, especially when on a stage with drums, bass, guitar, etc. For jazz, classical and music where the stage volume is lower, the mic can be placed further away for a richer, fuller sound. Allow a distance of 2-3 feet between microphones to avoid phase cancellation.
This drum mic was created to offset instruments with extremely high sound pressure levels by having a low gain stage.
As a general rule, start with the mic centered inside the middle of the drum and pointed towards the beater. For more attack and less bass boom, move the mic closer to the beater. For less attack and more bass, move the mic further away from the beater. For kick drums without a port in the front head, place the D6 a few inches from the head for a large dynamic sound.
Position the mic 2" from the head and point toward the center of the drum.
Position the mic 90 degrees to the grill cloth and 1-2 inches inside the edge of the speaker.
The OM2 vocal mic encompasses a very tight pick-up pattern which reduces sounds from other instruments on stage from "bleeding" into the microphone. It is important to sing directly into the mic at close proximity (within 2"). When using floor monitors, position the microphone parallel to the floor. When using multiple microphones for live performance, allow a distance of 2-3' between mics to avoid phase cancellation.
With its extremely tight pick-up pattern, the OM5 assists with eliminating sounds from other instruments on stage from "bleeding" into the microphone. It is important to sing directly into the mic at close proximity (within 2"). When using floor monitors, position the microphone so that it is parallel to the floor. When using multiple microphones on a live performance, allow a distance of 2-3 feet between mics to avoid phase cancellation.