Product Description
Audix DPQUAD 4-Piece Drum Microphone Package
The DPQUAD pack consists of four drum microphones grouped together to microphone a full drum kit. This arrangement employs a left overhead microphone to cover hi-hat, cymbals, and rack toms, and a right overhead microphone to capture the floor tom and ride cymbal. Individual snare and kick microphones complete the essential punch needed for a good drum mix. All microphones, clips, and accessories are packed in a durable aluminum carrying case.
- A professional set of 4 drum microphones for stage or studio
- Designed to capture the essence of a full kit with the least number of microphones
- Combines close-miking technique for kick and snare with overhead ambient microphone placement
Close Miking: The D6 for kick drum and the i5 for snare are considered musthaves for every drummer. 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 foundation. 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 and control the sound of each drum.
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 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 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 DPQUAD. 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 DPQUAD, drums will maintain their sound integrity and critical presence, regardless of the size of the room and PA system.
INCLUDES PACKAGED SET OF 4 DRUM MICS
SUPPLIED ACCESSORIES
- DCLIP - Heavy duty mic clip provided with D & SCX Series (3)
- DVICE - Spring loaded rim mount clamp (1)
- MC1 - Nylon mic clip (1)
- WS81C - Foam windscreen for reducing wind, sibilance and pop noise (2)
OPTIONAL ACCESSORIES
- DFLEX - Dual pivot rim mounted clip with extra wide butterfly jaws.
- DCLAMP - Flexible mini-gooseneck with drum tension lug mount.
- CBL20 - 20’ premium XLR-XLR balanced mic cable. Quad conductor, twisted pair with braided shield for maximum conductivity. 6mm PVC jacketed.
- CBLDR25 - 25’ premium right angle XLR-XLR balanced mic cable. Quad conductor, twisted pair with braided shield for maximum conductivity. 6mm PVC jacketed.
- SMT25 - Low profile shock mount system with nylon cable and thumbscrew for positioning
- STANDKD - Short pedestal stand with telescoping boom arm.
USER TIPS
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 offcenter and not directly at the beater. For more attack, move the mic closer towards the beater. For more bass, pull the mic farther away from the beater.
i5 - Snare: 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 farther away from the head. The trick is to find the right balance between resonance and attack while still controlling bleed from the other drums.
ADX51 - 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.
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. With the DPQUAD, you also have the option of using one ADX51 for overhead miking while using the second ADX51 as a dedicated hi-hat mic.
