Audix D Elite Drum Package
Review
I used this kit for a recording session/drum mic shoot out. The session was recorded at my studio, in Tulsa, OK. The recording system used was my mobile
Digidesign Pro Tools HD3 rig, with 24 channels of Digidesign PRE preamps. The monitors used were Mackie HR824's, Genelec 1031's and Auaratones. The
drum room is 16' x 23', correctly proportioned, acoustically. The Audix was the only package that did not require more time positioning, and/or EQ.
Once my drummer Stan was set up, it took only a couple of minutes to place the mics, hit record and listen. The snare and tom mics were placed at a 45 degree
angle, 1.5" from the head. The corner of the mic was into the drum about .5". The floor tom mic had a steeper angle of about 85 degrees. The kick drum was
placed inside, 2" off center, 6" from the head. The cymbal mic boom stands were placed at the front corners of the kit. The mics were aimed at the center of the
cymbal array, facing the drummer. The mics were angled 45 degrees, 16" from the top cymbals. The drummer played a bit. I set my gains on the PRE's, and hit
record. I made one adjustment to the kick mic ultimately, but that was it. I used no EQ. I didn't need any, PERIOD! The drummer said, "This kit had never
sounded so good, so huge." I told him, "It sounds like Stan's ideal drum kit to me." He said, "Yeah, most guys use mics that muddy up the floor tom and the kick
drum trying to get them to sound bigger. This is great. The snare doesn't sound electric." That was the best compliment for a drum mic right there.
All of the mics in the kit are great. I can't think of anything that I would change. The new D6 has a built in EQ for the kick drum. If you can't get a killer sound for
your tastes with this mic, then you need new heads or a different size of shell. While on tour, I used to use a Beta52 and a Beta91 on the kick. I wanted the
punch/attack of the 52, and the shell resonance of the 91. The Audix D6 does it all for me in one mic. Sweet. I wanted to try it on the Ampeg SVT with 4 x JBL
10's and 1 x JBL 15, but time did not allow it. Judging by the difference it made on the kick, over the Shure Beta52, I can only imagine that the D6 will be my
new bass amp mic.
The SCX-1 is the most under-rated condenser mic. I have used it on acoustic guitar, oboe, piano, etc. It does not have the jangle that some of the new budget
condensers have. It does not sound harsh to me. It is detailed. I like the fact that it is quiet for a small diaphragm condenser. There would be many
applications where this mic would benefit a church music ministry band.
The D4 was originally offered as a kick mic. I had good luck with it on smaller kicks and/or kicks that didn't need the big, hyped 40-60Hz that most guys try to
make a kick have. I like it as a floor tom mic. As with all of the D1,2,3 and 4's are very natural sounding to me. The Pearl kit, like most others, had a resonance.
This resonance was in the 225-250Hz range. It is the result of the coupling the toms with kick, and the overall resonance of the kit, as drums are hit. This was
not an issue for the Elite Kit. None of the mics enhanced that nasty region of the acoustic drum kit.
On one occassion, I took the microphones out, for a major secular engineer to use. (When I got to the venue, they had already mic'd the kits with Audix mics.
They had replaced a large portion of the Shure Beta's on the tour with the Audix mics. The Audix mics were said to be the best mics to place in a hurry, as they
didn't require as much placement tweaking. Saved time is everything to a tired stage crew on a long tour.
In summary. Acoustic drums are in again. If you do not have the sound that you desire and/or the means to obtain it, or if your touring drummers turn their nose
up at your gear, please consider the Audix Elite package. Unlike many other mics, the Audix mics require no EQ to make the drums sound great. Imagine
using the EQ as a creative tone control, or not at all, instead of a surgical corrective device. The mounts are stable and non-threatening to you and the hoops.
What else can you ask for in a drum mic package? I can't think of a thing!
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This is the debut album by EXW friend Paul Langford. Paul is a Chicago based singer, arranger, keyboardist, producer and conductor. Paul has a career that spans 14 years. Paul's work includes arranging for groups like GLAD, Voices of Liberty, VoiceTrek, The Chicago based "Caroling Party" and Day of Discovery Singers. His arranging has appeared on recordings side by side with greats like Gene Puerling and David Maddux, and he has sung with Don Shelton, Bonnie Herman and Bob Bowker, among others.