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Edward_Kitaju

Audix DP-7 vs. DP-8

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Hi there,

I'd like to record (mostly amateur) live bands and I can't decide whether I should get an Audix DP-7 or DP-8 drum mic set.
I want to deliver quality and I'm sure the DP-8 with its more expensive condenser mics would sound way better in a studio environment. But the thing is: It's going to be live, and I don't think my drummers will very often have the most sophisticated cymbals or drum kits (although some might from time to time). So I'm thinking about saving a couple of hundred dollars and using the ADX-51s for overheads and (just) an SM-57 for the hi-hat.
What do you think of this aproach?
How do the ADX-51s sound on live recordings, especially compared to the SCX-1?
Feedback resistance is also of interest.

Thanks,
E.

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Take this however you want but if it were me personally I would spend the money on the DP-5 and get something else for overheads. The i5 is a great mic for snare.

 

I checked out the 8 pack hoping you would get another D4 out of the deal or something and it says "hi hat mic". I would forego that and consider getting another D4 for when you encounter a 6 piece drum set.

 

Also: Something to consider is the size of the stage, overhead mics can cause quite a bit of trouble with phase especially if everything else is miced. Just a thought.

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Take this however you want but if it were me personally I would spend the money on the DP-5 and get something else for overheads. The i5 is a great mic for snare.


I checked out the 8 pack hoping you would get another D4 out of the deal or something and it says "hi hat mic". I would forego that and consider getting another D4 for when you encounter a 6 piece drum set.


Also: Something to consider is the size of the stage, overhead mics can cause quite a bit of trouble with phase especially if everything else is miced. Just a thought.

 

From what I've read, I agree with the above. The Audix dynamic drum mics (D2, D4, i5, D6) have a great reputation, but I haven't read much of anything about their small diaphragm condensers. I don't think it's their specialty. I'd just get the DP5 package and get something else for overheads.

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Actually I retract that statement for the price of one ADK it may not be all that bad (each costs over $200 on their own).

 

I just don't agree with the 8 piece. Get the 7 and grab another D4.

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If I were to get something else than Audix for the overheads, what would you suggest in this size and price range? ATM 450? SM-81? And what should I pick up the hi-hats with?

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If I were to get something else than Audix for the overheads, what would you suggest in this size and price range? ATM 450? SM-81?

 

Can you afford a pair of AT4041 mics?

 

I have used the sm81 mics on overheads and they were kickass as well.

 

No opinion of anything else. I hear octavas are great but haven't ever used them.

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Are you sure you'll need overheads? What size of a venue will you be working in?

 

I'm actually thinking the same thing as well. Smaller venues+overhead mics=out of phase nightmare from hell.

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Can you afford a pair of AT4041 mics?

 

Yes, they would be within reach.

Thanks for the hints with the extra D-4 and the phase issues, too. :idea:

 

Please keep in mind, though, that I was talking about recording live. So I will definitely need overheads and a separate hi-hat would also be nice so that I could add some reverb to it during mixdown if I wanted to. Whether FOH uses my overheads or not is a different concern and ultimately their decision.

 

Without wanting to start another one of those big overhead mic-preferences threads, because there seem to be plenty of them, I would be glad about further opinions on Audix's ADX-51 versus SCX-1 for cymbals and hi-hats, especially by people who have worked with both. Does the SCX-1 which costs more than double really sound much better if I want to achieve good, smooth, shining cymbals for (hard) rock and pop purposes? And what about feedback resistance? Will the speakers start screaming as soon as someone wants a signal from either of those mics on their monitors on tight stages?

 

My primary concern is sound on recordings, though.

 

Thanks so far,

E.

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