DP7 Professional Drum and

Percussion Mic Package

LIVE SOUND OR RECORDING

Whether on stage or in the studio, the DP7 drum pack is the ideal collection of seven
microphones for the standard five piece drum kit. Audix VLMTM dynamic mics manage
the transients of the drums at close range while the condensers capture the cymbals
and a stereo image of the entire kit from overhead. This award-winning combination
of microphones, clips and mounting accessories is packaged securely within a rugged
aluminum carrying case.
· Professional set of 7 drum mics for stage or studio
· ADX51 condensers for overheads add spacial dimension
· Recognized industry-wide for exceptional performance and consistency

CLOSE MIKING
INCLUDES
The D6 for kick drum and the i5 for snare are must-haves for every drummer. The
kick and snare are considered the core of any drum kit and the foundation for every PACKAGED SET OF 7 DRUM MICS
groove. Close miking insures that they will be captured in the mix. If either the kick or Aluminum Road Case
the snare is unable to be heard, there is simply no groove. The D2 and D4 are industry 1 x i5 Snare Mic
standards for toms and floor toms. Being high SPL dynamic microphones, the D6, 2 x D2 Rack Tom Mics
i5, D2 and D4 excel at “close miking”. This miking technique is required in order to 1 x D4 Floor Tom Mic
capture the attack and percussive sound of the drum. By having the mic close to the 1 x D6 Kick Drum Mic
source of the sound, it helps to isolate and control the sound of each drum. 2 x ADX51 Overhead Mics
4 x DVICE Rim Mounts
3 x DCLIP Mic Clips
OVERHEAD MIKING (ambient) 1 x MC1 Mic Clip
Supporting the idea that “less is more”, many engineers will use just two overhead 2 x WS81C Windscreens
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 SUPPLIED ACCESSORIES
and balance of the kit in a completely phase-coherent manner.
DVICE - Spring loaded rim mount clamp
The ADX51, a pre-polarized condenser microphone with a 14mm gold sputtered
MC1 - Nylon mic clip
diaphragm, is designed with overhead applications in mind. Due to its cardioid
DCLIP - Heavy duty mic clip provided with
pickup pattern, high sensitivity and slim pencil design, the two ADX51 mics can be
D Series
easily positioned overhead to provide a nice stereo image of the entire drum kit.
WS81C - Foam windscreen for reducing wind,
sibilance and pop noise
THE BLEND
OPTIONAL ACCESSORIES
With contemporary music and the volumes typically generated on stage, it is more
practical and effective to create a blended effect of close miking and a stereo image DFLEX - All purpose percussion clamp
of the entire kit from overhead. The D6 will help provide the earthshaking lows and DCLAMP - Tension rod mic clamp
the attack of the kick; the i5 will reinforce the depth and crack of the snare; the D2 and STANDKD - Adjustable kick drum mic stand
D4 will pick up the attack and overtones of the toms, and the ADX51 overheads will with telescopic boom
pick up the hi-hat, cymbals and the ambience of the entire kit. With the DP7, drums CBL20 - 20’ XLR-XLR mic cable
will maintain their sound integrity and critical presence, regardless of the size of the CBLDR25 - 25’ right angle XLR-XLR mic cable
room and PA system.

DP7
DVICE MC1 DCLIP WS81C DFLEX DCLAMP STANDKD CBL20 CBLDR25
SPECIFICATIONS

DP7
i5 D2 D4 D6 ADX51

Transducer Dynamic VLM Type B Dynamic VLM Type B Dynamic VLM Type D Dynamic VLM Type B Pre-Polarized Con-
Transducer Dynamic VLM Type B Dynamic VLM Type B Dynamic VLM Type D Dynamic VLM Type B
Frequency Response 50 Hz - 16 kHz 68 Hz - 18 kHz 40 Hz - 18 kHz 30 Hz - 15 kHz denser
Frequency
Polar Response
Pattern 50 Hz - 16 kHz
Cardioid 68 Hz - 18 kHz
Hypercardioid 40 Hz - 18 kHz
Hypercardioid 30 Hz - 15 kHz
Cardioid 40 Hz - 18 kHz
Polar Pattern
Output Impedance Cardioid
150 ohms Hypercardioid
280 ohms Hypercardioid
280 ohms Cardioid
280 ohms Cardioid
Output Impedance
Sensitivity 150mV
1.5 ohms
/ Pa @ 1k 280mV
1.2 ohms
/ Pa @ 1k 280 ohms
1.4 mV / Pa @ 1k 280 ohms
0.8 mV / Pa @ 1k 100 ohms
Sensitivity SPL
Maximum 1.5 mV
≥140 dB/ Pa @ 1k 1.2 mV
≥144 dB/ Pa @ 1k 1.4
≥144mVdB/ Pa @ 1k 0.8
≥144mV
dB/ Pa @ 1k 17 mV / Pa @ 1k
Maximum SPL ≥140 dB ≥144 dB ≥144 dB ≥144 dB ≥132 dB
Off-axis rejection ≥23 dB ≥30 dB >20 dB >20 dB
Off-axis rejection ≥23 dB ≥30 dB >20 dB >20 dB >15 dB
Power Requirements None None None None
Power Requirements
Materials / Finish NoneAlloy / Black
Zinc NoneHard Coat
Black None
Black Hard Coat None
Machined Aluminum / 9-52 V phantom
Finish
Zinc Alloy/ Black Black Finish
Materials / Finish Black Hard Coat Black Hard Coat Black Hard Coat Brass / Black Finish
Weight Finish
250 g / 8.8 oz 250 g / 8.8 oz 128 g / 4.5 oz 254 g / 8.9 oz
Weight
Length 250 g mm
141.5 / 8.8/oz
5.6 in 250 mm
100 g / 8.8 ozin
/ 3.9 128 g / 4.5
100 mm ozin
/ 3.9 254 g / 8.9
117 mm ozin
/ 4.6 184 g / 6.5 oz
Length 141.5 mm / 5.6 in 100 mm / 3.9 in 100 mm / 3.9 in 117 mm / 4.6 in 160 mm / 6.3 in

USER TIPS
This package is identical to the DP5A with the addition of two ADX51 i5 - Snare: A good starting point is 2 inches above the rim with the mic
condensers for overhead miking. With the addition of the overhead mics, pointing towards the center of the head. For more “rim” sound, pull the
you now have the opportunity to create more depth of field and more mic closer to the rim. For more resonance and depth of field, pull the mic
presence within the mix. You have the choice of using both ADX51s for farther away from the head. The trick is to find the right balance between
overheads or one for hi-hat and one for overhead. resonance and attack while still controlling bleed from the other drums.

ADX51 - As overheads: The most common positioning concept is to keep D2 / D4 - Floor Toms: Place the mic about 2 inches above the head and
the snare as the focal point and move the mics into various left and right point the mic across the head towards the center of the drum. This is the
positions equal distance from the snare; 4 feet is a good starting point. For best position to capture the fundamental resonance and decay of the drum
best results, keep the mics in a vertical position, keeping in mind that you will minimal ring.
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 Note that you will need the DCLAMP or DFLEX mounts in order to attach the
most of your sound while the tom mics are used for sweetening. mics to hand percussion instruments or non-conventional rims.

ADX51 - One for hi-hat, one for overhead: The ADX51 for high hat should D6 - Kick Drum: To position the D6, a good starting point is a few inches
be placed 2-3 inches above the top cymbal and towards the outside edge. inside the port of the front head with the mic pointing off-center and not
The overhead mic can be placed overhead above the cymbals, generally directly at the beater. For more attack, move the mic closer towards the
above the rack toms. In the case where there are more cymbals on one side beater. For more bass, pull the mic farther away from the beater.
of the kit than the other, the mic can favor the side with the most cymbals.
For more information please visit www.audixusa.com to view our six part
video on “How to Mic Your Kit.”

PRODUCT REGISTRATION: Please register your product online at www.audixusa.com/docs_12/about/product_registration.shtml.

SERVICE AND WARRANTY: The i5, D2, D4, and D6 microphones are under warranty for a period of 5 years and the ADX51 microphone is under warranty for a period of 3 years
to be free of defects in material and workmanship. In the event of a product failure due to materials or workmanship, Audix will repair or replace said product at no charge with proof of
purchase. Audix does not pay or reimburse shipping costs for warranty repairs or returns. 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. No Implied Warranties: All implied warranties, including but
not limited to implied warranties of merchantability and fitness for a particular purpose are hereby excluded. The liability of Audix, if any, for damages relating to allegedly defective
products shall be limited to the actual price paid by Dealer for such products and shall in no event include incidental or consequential damages of any kind. Should your microphone fail
in any way, please contact the Audix Service department at 503.682.6933. A Return Authorization is required before returning any product. OTHER THAN THIS WARRANTY, AUDIX MAKES
NO WARRANTIES, EXPRESS OR IMPLIED, WITH RESPECT TO THE PRODUCTS, THE USE OF THE PRODUCTS, THE PERFORMANCE OF THE PRODUCTS. AUDIX SHALL NOT BE LIABLE FOR
SPECIAL INCIDENTAL, CONSEQUENTIAL, INDIRECT OR SIMILAR DAMAGES ARISING FROM OR BASED ON THE SALE, USE, STORAGE OR DISPOSAL OF THE PRODUCTS, AUDIX’S SERVICE
WORK, BREACH OF WARRANTY, BREACH OF CONTRACT. NEGLIGENCE, OR ANY OTHER THEORY OF LIABILITY, EVEN IF AUDIX HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

www.audixusa.com
503.682.6933 Fax: 503.682.7114
ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE. Audix Corporation 9400 SW Barber St. Wilsonville, OR 97070

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