DP8 - Microphone Audix - Free user manual and instructions

Product Type	Dynamic Microphone
Polar Pattern	Cardioid
Frequency Response	50 Hz – 15 kHz
Impedance	150 ohms
Output Connector	3-pin XLR male
Dimensions (Length x Diameter)	5.5 in x 2 in (140 mm x 51 mm)
Weight	8 oz (227 g)
Power Requirement	None (passive)
Maximum SPL	140 dB SPL
Application	Drums, percussion, high-SPL instruments
Mounting	Integral stand mount with adjustable angle
Included Accessories	Microphone clip, carrying pouch
Material	Zinc alloy body, steel grille
Color	Black
Maintenance	Wipe with a damp cloth; do not submerge
Safety	Keep away from moisture and extreme temperatures
Spare Parts Availability	Replacement grilles and clips available from Audix
Warranty	2 years limited warranty

Frequently Asked Questions - DP8 Audix

What type of microphone is the Audix DP8?

The Audix DP8 is a dynamic microphone designed for high SPL applications like drum and percussion miking.

Does the DP8 require phantom power?

No, the DP8 is a passive dynamic microphone and does not require phantom power or batteries.

What is the polar pattern of the DP8?

The DP8 has a cardioid polar pattern, which rejects sound from the rear and sides, providing good isolation.

Can I use the DP8 for vocals?

While primarily designed for instruments, the DP8 can be used for vocals with its cardioid pattern, but it is optimized for high SPL sources.

What cable does the DP8 use?

The DP8 uses a standard 3-pin XLR microphone cable for balanced audio output.

How do I clean the DP8 microphone?

Clean the grille with a soft, damp cloth. For deep cleaning, remove the grille carefully and wash with mild soap; dry thoroughly before reassembly.

Is the DP8 compatible with wireless systems?

Yes, the DP8 can be used with any XLR-based wireless transmitter that accepts dynamic microphone inputs.

What accessories are included with the DP8?

The package includes the microphone, a stand clip, and a carrying pouch.

What is the frequency response of the DP8?

The DP8 has a frequency response of 50 Hz to 15 kHz, with a presence peak for clarity on drums.

How do I mount the DP8 on a stand?

Attach the included clip to the microphone, then slide it onto the stand's threading. Tighten the screw to secure. The microphone angle can be adjusted.

USER MANUAL DP8 Audix

DP Series

PROFESSIONAL DRUM AND PERCUSSION MIC PACKAGES:

When it comes to drum and percussion microphones, Audix is the industry leader. These high precision instrument microphones are designed to fill the specific needs of artists and engineers for both studio and live applications.

Each of the DP Series packs contain a combination of D6, D2, D4, and i5 dynamic microphones, ADX51 or SCX1 condensers, as well as DVICE and MC1 mic clips. The D series microphones each have a specifically tuned VLM ^™ (very low mass) capsule housed in a precision-machined lightweight aluminum body. The D2 is designed to be used for toms and the D4 is designed for floor toms or small kick drums. The D6 is the quintessential kick drum microphone and the i5 snare drum microphone is designed for sonic accuracy, consistency and durability. The ADX51 and SCX condensers are ideal for high hat, overheads and goodie table. The DVICE gooseneck rim mount allows for quick and easy set up and perfect mic placement.

Don't compromise the sound of your drums. The DP series mic packages will reproduce the sound of your drums exactly how you want your audience to hear them.

Open metallic briefcase with multiple clamps and accessories (no visible text or symbols)

DP5A

Open metallic briefcase with various electronic devices and cables (no visible text or labels)

DP7

Open metallic briefcase with black textured surface and multiple clamps (no visible text or symbols)

DP Elite 8

DP5A

PACKAGED SET OF 5 DRUM MICS

Aluminum road case

1 x i5 snare mic

2 x D2 tom mics

1 x D4 floor tom mic

1 x D6 kick mic

4 x DVICE gooseneck clips

1 x MC1 mic clip

1 x DCLIP mic clip

DP7

PACKAGED SET OF 7 DRUM MICS

Aluminum road case

1 x i5 snare mic

2 x D2 tom mics

1 x D4 floor tom mic

1 x D6 kick drum mic

2 x ADX51 overhead mics

4 x DVICE gooseneck clips

1 x MC1 mic clip

3 x DCLIP mic clips

2 x WS81C windscreens

DP Elite 8

PACKAGED SET OF 8 DRUM MICS

Aluminum road case

1 x i5 snare mic

2 x D2 tom mics

1 x D4 floor tom mic

1 x D6 kick mic

2 x SCX1-C overhead mics

x SCX1-HC hi-hat mic

4 x DVICE gooseneck clips

1 x MC1 mic clip

4 x DCLIP mic clips

3 x WS81C windscreens

OPTIONAL ACCESSORIES:

DVICE

Spring loaded rim mount clamp

MC1

Nylon mic clip

DCLIP

Heavy duty mic clip provided with D

series, SCX series

SMT25

Shockmount suspension clip

DFLEX

All purpose percussion clamp

DCLAMP

Tension rod mic clamp

TRIPOD

Tripod mic stand

STAND-KD

Adjustable kick drum mic stand

CBL-20

20' XLR-XLR mic cable

CBL-DR25

25' right angle XLR-XLR

mic cable

SPECIFICATIONS:

	[W2A0]i5 4 D6				[706C]	ADX51	SCX1-C / SCX1-HC
Application	Snare (top or bottom), toms, hand percussion, guitar cabs, acoustic instruments	Rack toms, floor tom, conga	Floor tom, djembe, cajon, tumba	Kick drum, floor tom, djembe, cajon	Overheads, high-hat, cymbals, goodie table	Overheads, high-hat, acoustic instruments
Features	Protective steel grill, easy to set up and use, clean, accurate sound	Slight mid-bass boost, excellent transient response, big sound	Extended low end for larger drums, accurate frequency response, natural sound	Extended low end for larger drums, accurate frequency response, natural sound	Accurate reproduction of high frequency instruments, -10 dB pad bass roll-off filter	Extremely sensitive and highly accurate sound reproduction
Transducer Type	Dynamic VLM ^TM Type B	Dynamic VLM ^TM Type B	Dynamic VLM ^TM Type D	Dynamic VLM ^TM Type E	Condenser	Condenser
Frequency Response	50 Hz - 16 kHz	44 Hz - 18 kHz	40 Hz - 18 kHz	30 Hz - 15 kHz	40 Hz - 18 kHz	40 Hz - 20 kHz
Polar Pattern	Cardioid	Hypercardioid	Hypercardioid	Cardioid	Cardioid	Cardioid / Hypercardioid
Output Impedance	150 ohms	250 ohms	200 ohms	200 ohms	100 ohms	200 ohms
Sensitivity	1.5 mV / Pa @ 1k	1.2 mV / Pa @ 1k	1.4 mV / Pa @ 1k	0.8 mV / Pa @ 80Hz	17 mV / Pa @ 1k	26 mV / Pa @ 1k / 15 mV / pa @ 1k
Maximum SPL	≥140 dB	≥144 dB	≥144 dB	≥144 dB	≥136 dB	≥130 dB
Off-axis rejection	>23 dB	>30 dB	>20 dB	>20 dB	>15 dB	>20 dB
Power Requirements	None	None	None	None	9 - 52v phantom	48 - 52v phantom
Housing / Finish	Die Cast Zinc Alloy / Black E-Coat	Machined Aluminum / Black Hard Coat	Machined Aluminum / Black Hard Coat	Machined Aluminum / Black Hard Coat	Machined Brass / Black E-Coat	Machined Brass / Black E-Coat
Weight	183 g / 6.5 ounces	128 g / 4.5 ounces	128 g / 4.5 ounces	217 g / 7.7 ounces	184 g / 6.5 ounces	114 g / 4 ounces

USER TIPS:

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

DP5A [1 x i5, 2 x D2, 1 x D4, 1 x D6]: This package is ideal for literally any 5 piece kit for stage or recording.

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.

Snare and Toms: As a general rule, the i5 and D2 are 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.

Floor Tom: Place the mic about 2 inches above the head and point the mic across the head towards the center of the drum. This is the best position to capture the fundamental resonance and decay of the drum will minimal ring. Note that you will need to purchase the DCLAMP or DFLEX mounts in order to attach the mics to hand percussion instruments or non-conventional rims.

DP7 [1 x i5, 2 x D2s, 1 x D4, 1 x D6, 2 x ADX51]: This package is identical to the DP5A with the addition of two ADX51 condensers for overhead miking. With the addition of the overhead mics, you now have the opportunity to create more depth of field and more presence within the mix. You have the choice of using both ADX51s for overheads, or one for high hat and one for overhead.

Both 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.

One for high-hat, one for overhead: The ADX51 for high hat should be placed 2-3 inches above the top cymbal and towards the outside edge. The overhead mic can be placed overhead above the cymbals, generally above the rack toms. In the case where there are more cymbals on one side of the kit than the other, the mic can favor the side with the most cymbals.

DP Elite 8 [1 x i5, 2 x D2s, 1 x D4, 1x D6, 2 x SCX1-C, 1 x SCX1-HC]: This package is also identical to the DP5A with the addition of three SCX series microphones. Included are two SCX1-C condensers for overheads and one SCX1-HC for high-hat. The SCX series microphones are more sensitive than the ADX series, have a lower noise floor and a wider sound field making them excellent for studio as well as live.

Overheads: The same concept applies as described above with the DP7. Again, the SCX1-C is extremely sensitive so do not be afraid to pick up a majority of the sound through the overheads if the stage volume will allow it. High-Hat: The SCX1-HC is also extremely sensitive so be sure the mic is up and away from the area where the cymbals open and close, otherwise the mic will pick up wind noise and sound harsh. Careful positioning will isolate the hi-hat from the rest of the kit and make it easier to feature it in the mix.

***All specifications subject to change without notice.

SERVICE AND WARRANTY:

These microphones are under warranty for a period of 3 years for condensers and 5 years for dynamics from any and all manufacturing defects. Should your microphone fail in any way, please contact the Audix Service department at 503-682-6933. A Return Authorization number is required before returning any products.

CARE AND MAINTENANCE:

The microphones in the DP Series Packs are manufactured to exacting specs with roadworthy construction. However, the capsule is highly sensitive and should be handled with care. Avoid extreme temperatures and be sure to store your microphone in the pouch provided when not in use. Moisture of any kind can adversely affect the sound and performance of your microphone.

www.audixusa.com

503-682-6933 Fax: [phone] V Barber St. Wilsonville, OR 97070

MICROPHONES

AUDIX WARRANTY REGISTRATION FORM

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