You have no items in your shopping cart. The D4 utilizes a capsule specially designed to capture high SPL instruments with extended frequencies below Hz. By using a sub-impulse technology that samples sounds at a rate higher than other mics, the D4 captures a truer image of the original sound than previous generation kick drum mics - this mic is flat down to 63 Hz, with a slight bump in response at 80 Hz, and a gentle roll off below 40 Hz. From 80 Hz up to 1k, the D4 is extremely linear. The D4 comes with a carry pouch and a mic clip.
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But Audix has introduced two dynamic mics that are different from the rest. The D4 is a hypercardioid dynamic mic intended for kick drums, bass, toms…and just about any application that needs an extended low end. The OM6 is a hypercardioid dynamic model designed for vocals and even voiceovers. It has good off-axis rejection and, according to Audix, a sound that comes close to a condenser mic. On every kick drum I miked with the D4, there was ample punch and bottom end.
This mic was designed to accentuate the below 80 Hz stuff that many mics roll off. I must admit to being a fan of a certain low mid scoop in certain instances. But one thing I noticed immediately with the D4 was that its smoothness in that range gives it a fuller mid tone than most bass drum mics pick up. The high end is also interesting. While the D12 had a fatter and wider bottom, the D4 had a slightly deeper tone.
And the high end on the D4 was much cleaner, minus that D12 midrange honk. Versus the RE20 the D4 had more punch, and again the top end was interestingly different. I certainly found myself using radically different eq than usual, but it still needed a good boost at 60 cycles to put that kick drum right in my chest where I like it. It likes to see a full wave and is capable of faithfully reproducing it.
Mainly, I like its subtle deepness and open, unhyped top end. I also used the D4 on floor toms with good results. But the biggest surprise was that it was really exceptional on bass guitar. But in this case the bass tracks really came across with monster tone from the mic.
Using the D4 the Leslie came through with nice tight bottom. And with the hypercardioid pattern this mic employs, it was easy to mic a good foot or so from the cabinet and still get good separation from other instruments.
For live applications, that extended bottom end and open top are going to make new friends at the back of the room. And its small size is a big plus. For the first time in my life I was able to put that sucker anywhere I desired between the maze of pillows, drum rings, rack tom mounts, and dirty laundry usually found inside bass drums. All in all, a combination of nice tight sound, smart design, SPL handling ability up to dB, and good looks.
The D4 should make a good addition to the world of mics. OM6 The first thing that catches your attention about this hypercardioid dynamic mic is its weight They target the OM6 especially for vocals and voiceovers, and one would have to agree with that assessment.
It sounds quite good in that capacity, as I found out when using it to record a voiceover for an audio business card. And sure enough, it worked out very well in a multi-mic situation with the old standby Shure SM57 on one speaker and the OM6 on another. The Audix was a bit crisper, and it really bought out the crunchies.
Its clarity also worked well better, in fact for getting a cleaner guitar sound. Of course this was an unfair contest — the is almost five times the price — but I wanted to see how well this mic compared with that favorite classic. Well, the lead vocals we recorded with the OM6 were keepers. In the studio, though, it lacks a bit of crisp top in the 10—14 kHz range.
And for that live mix, this thing will cut like a blowtorch on tin. Audix acoustic engineer Fred Bigeh has put a lot of care into it, and it has a nice modern look. So we have two good, well made Audix mics that were designed to be different from most mics on the market.
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Audix D4 Dynamic Cable Professional Microphone
Hypercardioid Dynamic Microphone The D4 is a hypercardioid dynamic instrument microphone, designed especially for low-frequency reproduction. Like all dynamic mics, it handles high SPL without breaking up. Its hypercardioid pickup pattern reduces bleed from nearby sources. It has a transformerless, low-impedance, balanced output circuit. MIX I miked a single-headed kick with the D4 mounted on a 5-inch desk stand, and set up directly in front of the kick without a boom. The results were superb, with excellent off-axis rejection. The D4 case is identical in size and shape to the D1, D2, and D3.
Audix D4 Dynamic Instrument Microphone