Recording - May 2015 - 61

comparisons between the DP7 and new DP4 sets.
We also auditioned Telefunken's DD5 drum pack
reviewed in January 2014 (which uses T-Funk's
M80, M81, and M82 mics), and I put up a handful of Shure SM57s and a Beta 52 kick mic as
well.
I found each grouping of mics was simply different from the others rather than "good" or "bad",
and I am quite glad about that! Every engineer
needs to know that often it's not about having a
good or bad mic, it's about choosing the right mic
for the job.
I would suggest that it is highly beneficial to
own two or three different drum miking kits in a
variety of sonic colors and styles. It does not hurt
that dynamics tend to be the most affordable mics,
and acquiring a large and varied dynamic mic
locker is a reasonable task.

The letter D
Moving to the toms, unlike most of us who are fine to have multiple kick and
snare options, I think often we find a set of tom mics that works and then stick
with it for years without changing or experimenting.
In both my studio and on stage, as described above, my go-to tom mics were
the Audix D2 on high and mid toms and D4 on the low toms. The D2 has a nice
forward, controlled sound that yields a very produced rounded punch, and it's
not shy in the bass range either with a nice 150 Hz boost. The D4 is similar, and
while its low end is more laid back, it actually yields a bigger, smoother bottom
end weight that lets the low tom bloom nicely in the mix. In contrast, a D2 makes
the low-end ring a bit more obvious. Note that prior to the introduction of the D6,
the D4 was actually Audix's kick drum mic in the line, and as such it made quite
an impression on reviewer Geno Porfido back in our November 1998 issue.

Tones, punch and sounds
After multiple passes and takes swapping the
various mics in and out, here are some of the main
differences and where and when I chose each mic.
Looking first at the non-Audix mics, The
Telefunken M series mics sound the least drumspecific or drum-tailored of the bunch. I would use
them when wanting a very natural "this is how the
drums sound in the room" vibe, great for classic
jazz or for vibey indie and roots rock.
On the Shure side, it's hard to argue about the
sound and use of an SM57 on a snare-a forward, upper midrange crack and smack that we
all know well. However, while I know tons of engineers who reach for SM57s for use on toms, this
is an area where I almost always find a mic that I
like better. Moving to the Beta 52 on kick, it offers
one of the best and biggest low frequency captures of any kick mic I have ever used, especially
in the sound hole. However, I find it too dull for
use in capturing the beater up on the head.
For this reason one of my most tried and true
kick drum setups for over a decade has been the
Audix D6 up on the beater head-remember what
I said about how marvelously it captures beater
click?-with a Beta 52 in the sound hole. It truly is
a great combo. However, in most modern rock situations, if I can only use one kick mic, it will be
the D6 alone. That's because the D6 combines its
beater click capture with a beautiful low end of its
own.

presence to the toms. Note that the i5 is cardioid while the D2 and D4 are hypercardioid. This makes the i5 in theory more prone to bleed from other kit pieces, but
I never found that to cause any actual problems when recording or mixing.
Overall, both the drummer and I quite liked the forceful, rounded aggression that the i5 brought to the toms, both low and high. If you are doing a
record where the toms need to make a statement, the i5 is a fantastic choice.
I dare say there is even a Sennheiser 421-ish top end tone to the i5 on toms,
albeit with a bigger bottom heft.
Finally, we move to the snare... and to the age-old, countless SM57 comparisons that the i5 endures. In my opinion they both offer a nice mid punch
and presence, with the SM57 having more midrange bite. What really sets
these two mics apart on snare is the low end presence in the i5, where the
SM57 has little to speak of. This makes the i5 a great choice for punching
up thin-sounding snare drums, not to mention tinny-sounding guitar amps in
need of better low-end presence.
This leads me to reiterate something I said early on about why the DP4 set
is such a wise purchase: It's not just for drums. The i5 is also one of the bestknown and most-used alternatives to the SM57, sometimes even used along
with it as a complement, on guitar cabinets. And as I mentioned in my
January 2015 review, the D6 is simply stellar on bass cabinet.

The letter i
Moving to the i5 on toms was one of those "Wow, why have I not done this
before?" moments. It has a similar overall voicing as the D2, but with a touch more
of an 8 kHz push, and a bit of shift toward the mids that lends a beautiful, rounded

Conclusions
These mics and this package are a sound investment, and I mean that both
sonically and fiscally. Whether you are looking for your first drum miking kit
or looking to bolster an existing mic locker, these are mics that every engineer
and studio should have ready to go. The fact that the whole kit comes in at
such an affordable price is just icing on the cake.
Price: $449 street
More from: Audix, www.audixusa.com
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