Audix FP5 Drum Microphone Pack
Audix revolutionized drum and percussion miking by designing instrument specific microphones. With the introduction of the Fusion Series, Audix created two attractively priced packages for todays up and coming professionals.
The FP5 Drum Pack contains a combination of f2, f5 and f6 dynamic microphones. The f5 is tuned for snare drum and can be used as well for bongos, timbales, guitar cabinets and acoustic instruments; the f2 is ideally suited for rack and floor toms, congas, djembe, bongos, timbales, brass and woodwind instruments. The f6, with its extended bass response, is designed for kick drum, bass cabinets, cajon and other low frequency instruments.
Built to withstand the rigors of live stage applications, the Fusion Series mics are also excellent for rehearsal, school, House of Worship and a wide variety of home recording applications.
- All-in-one solution for drum miking
- Instrument-specific mics for optimal results
- Rugged Audix quality
- Aluminum carrying case
The FP5 Pack Includes
- Aluminum road case
- 3 x f2 rack and floor tom mics
- 1 x f5 snare mic
- 1 x f6 kick drum mic 4 x Heavy duty mic clip provided with D & SCX Series
- 1 x MC1 Nylon mic clip
- 4 x DFLEX Dual pivot rim mounted clip with extra wide butterfly jaws
The f2 and f6 microphones are supplied with the DCLIP, a heavy duty nylon stand adapter with snap-to-fit design; the f5 is supplied with the MC1 mic clip. Each clip comes with a 3/8” thread adapter which is mainly used with European mic stands.
Audix F6 Kick Drum Microphone:
The f6 is the kick drum mic. To position the f6, a good starting point is to place the mic inside the front hole of the kick drum, pointing toward the beater. (Tip: be sure that the grill is completely inside the hole). For more attack, move the mic closer toward the head, making sure not to position the mic right in front of the beater.
Audix F2 and F5 Microphones:
The f2 (snare) and f5 (toms) are designed to be close miked. A good starting point is two inches above the rim with the mic pointing toward 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 while controlling bleed from the other drums.
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