AUDIX DP5A DYNAMIC MICROPHONE SET-HANG ON TO YOUR HAT!
The Audix DP5A microphone set is a grouping of dynamic microphones specifically designed to capture the sound of instruments, most notably, the drum set. While these mics could be employed for a variety of other uses (especially the i5, such as guitar or vocal, or the D4 to capture an amplified bass cabinet for example), their strength really is seen when set up on the drums.
Unlike condenser mics, these do not require phantom power or batteries for signal boosting. Among dynamic mics, this Audix set is indeed dynamic. Included in the set are five mics as follows: one i5, usually for the snare drum, two D2s for rack toms, one D4 for floor tom(s) or bass drums, and one D6 primarily for bass drum applications. Also included are clips for the mics and 4 D-Vices, which are clip on mechanisms for drum rims. The D2 mics and the i5 could also be used for cymbals and hi hats, but there are other mics from Audix and others that would serve in this capacity even better.
Getting back to the D-Vice clamps, they work fine, but have earned some of the criticism that they have earned. The D-Vice is an grade A+ invention with a grade B execution. Although I have yet to encounter any problems with mine, these are not the most robust clamping mechanisms available, and one should take care in their handling, especially with a busy on the road schedule.
The mics themselves set what is perhaps a new standard in their specific intended applications, especially at this price point. The i5 is a crystal clear mic that does wonders for the snare, and should be equally at home in front of an acoustic guitar, although I have not tried this personally. The D2s are very adept at capturing the correct rack tom sound, provided that one hasn't been twisting the knobs crazily on signal processors, unless that is the effect being sought. The D4 is absolutely tremendous in every sense of the word when positioned by the floor tom. Neither the D2 nor the D4 are bass shy by any stretch of the imagination. This brings us to the final mic, the mighty D6. Although perhaps less of a jazz drummer's bass mic, although some tweaking will bring it right there, the D6 has got to be THE answer to the Rock drummer's prayer. Designed with a substantially boosted bottom end, a moderately boosted top end, and a broad reduction in the midrange, this mic delivers both the definitive click on top and a bottom end that could only be described as punishing. Connected to a Crown amplifier, and without even employing EQ, compression, or digital effects, this mic delivers positively crushing lows not only in the ubiquitous 80 Hz range, but at subterranean depths as well. Placed in a bass drum with the new bass port venting system, the D6 brings to mind one's very mortality. Bone jarring, chest thumping lows, served up without the all too common flabbiness is the order of the day. The D6 is tight, right, and has might even on systems of moderate stature. One gets the impression that under true professional applications, its power is limitless. Making things even better is the Audix' notable resistance to feedback.
All this fun is packaged in a nice foam filled, locking, aluminum travel case. If there is better out there at this price, call me skeptical. If there is better at any price, perhaps it isn't necessary. All in all, the DP5A is a terrific package. Very highly recommended.Read full review
