Recording - October 2015 - 52

B Y PA U L V N U K J R .

Most of our Audix coverage in the past
year has been focused on the classic
workhorses of the line-everything from
newly created packages containing the
i5 and D6 dynamic mics to the special
anniversary edition of the D6. In addition
to the aforementioned studio workhorses,
though, it's good to be reminded that

Audix HT5 and HT7 Over-Ear
Condenser Microphones
When a conventional handheld mic won't do the best job-try these
Audix offers a selection of specialty
microphones as well. These include
miniature podium mics with or without
state-of-the-art carbon fiber boom stands,
similarly equipped choir mics, and the
mics we are looking at today: headworn/over-ear condenser mics.
Remember that the world of professional recording often extends beyond the studio and concert stage. There may come a
time when you are called upon to record
a speaker giving a seminar in a banquet
hall, a pastor, priest or rabbi in a large
sanctuary, a CEO in a boardroom, or a
cast of singers and actors in a musical
stage production. When that happens,
these are the sort of microphones that you
will want to have handy.
Both mics use an omnidirectional capsule. The mic is at the end of a flexible
armature that extends down the wearer's
cheek and should be positioned just at
the side corner of the mouth, not in front.
You may be wondering why we would
choose omnidirectional mics when they
will be used in large reverberant rooms
with the potential for feedback. The reason
is simple: omni mics are more consistent in
their behavior than cardioids. They're less
prone to air blasts and plosives, they have
no proximity effect, and head movements
are much less likely to make the speaker's
voice in the capsule change dramatically
as the mic moves with respect to his or her
mouth. Yes, there can and most likely will
be feedback issues to sort when setting levels... but in this situation, EQ, compression,
and soft gating are your friends. And feedback might not be nearly as bad as you'd
fear, since the capsule is so tiny and so
near the sound source.
52

RECORDING October 2015

HT5
First we have the older model of the
two, the HT5. It sports a 20 Hz to 20 kHz
frequency response, a 12 mV/Pa @1 kHz
sensitivity, 1000 Ohm impedance, and
can handle SPL of 140 dB or greater.
The HT5 is a dual-ear model and is the
more robust of the two in every way. The
5mm mic capsule is attached to a miniature gooseneck armature that terminates in
a 3' cable, to which you can add an
adaptor for use with the wireless or wired
system of your choice.
The armature is a simple, highly rigid wire
design that slips around the back of the head
over both ears. It is firm and tight and once
in place this mic will stay put even under
heavy calisthenic use. It is available in beige
or black and includes a foam windscreen.
HT7
The brand-new HT7 also has a a 20 Hz
to 20 kHz frequency response. Its has a
sensitivity of 17 mV/Pa @1 kHz, a 2000

Ohm impedance, and can also handle
high SPL with ease.
The HT7 is a single-ear model. The mic
is held in place by a soft yet firm rubber
earpiece that can be worn on either the
left or right ear. The entire mic is modular:
the earpiece can detach from the thin
wire mic armature, the 4' cable is detachable, and so is your chosen mic pack
adaptor. This is a good place to note that
in addition to supporting the many companies who offer wireless systems, Audix
has multiple wireless systems of its own,
such as the RAD360, which work hand in
hand with the HT5 and HT7.
The HT7 comes in beige or black and
ships with a foam windscreen, all in a simple compartmentalized vinyl zipper case.
Practicalities
In my job as a the tech director of a
church with a 1200 to 1800 seat facility, I make use of over-the-ear mics often
for sermons, seminars, musical skits, and
video interviews. In our church, at least,
the days of lavalier mics are long gone
except on the rarest of occasions. The
over-ear is closer to the mouth and gives
more gain before feedback.
In use, both the HT5 and HT7 have
their pros and cons depending on your

Table of Contents for the Digital Edition of Recording - October 2015