By Mark Farmer
With technology as it is today choices are unlimited, but that was not always the case. Recording the commercial, setting up the big tour, or using a high volume monitor system, important microphone choices must be taken into consideration.
Audix Corporation located in Wilsonville, Oregon sent me two of their newest microphones,the OM-3xb, Om-5 to evaluate in a variety of applications. I had read about the Audix microphones and also heard from other sound engineers how fantastic they were. To say the least I was excited about the opportunity to check them out. I had some monitor and front of house shows scheduled so I decided to try the microphones out in both applications.
The Audix OM-3xb and the OM-5 both retail for around $279.00 list price. Included in each box were, a mic bag, rubberized mic clip, and a component list/test result sheet. Both microphones are an all l black electronically (E-Coat) applied finish. the XLR connector is gold to resist corrosion. The OM-3xb and OM-5 measure 7 inches in length. Width, I noticed, in handling the mic’s, seemed a bit smaller in circumference than a Shure SM-58. Trying out one of the mic’s in a standard 57 clip confirmed my guess. So, using the supplied clip would be suggested. Both microphones weigh in at a solid feeling 10.5 oz. Included in your Audix purchase, they supply a 2 year warranty, and a lifetime service policy. The service policy covers a rebuild or repair of the microphone capsule. According to the information supplied to me, Audix has two windscreens available. One is a standard round head, the other a flat top sleek version. The latter being similar to the head of a Beta 87.
Audix designed these and most of their microphones around a dynamic transducer and a hypercardioid pickup pattern. Their secret is the “VLM” or very low mass mylar diaphragm. Both of these Audix mic’s are built to withstand up to 144 db of sound pressure level.
According to Audix, frequency response of the OM-3xb measured from 38hz-21k. Sensitivity is -71.5 db, and impedance measures 250 ohms. Greater than 25 db of off-axis rejection, really shined in my on stage monitor test.
A slight drop in frequency response took the Audix OM-5 to 40-20k. Even though the “5” is not as sensitive(-68db), rejection was remarkable at 30 db. The impedance dropped to 200 ohms with the OM-5.
In comparing the Audix OM-3xb, Om-5, I decided I had to have some sort of reference. I choose a familiar live sound mic, the Shure SM-58. Plugging all 3 microphones into my monitor desk, a Yamaha 2800M. I set up each channel input gain the same. Equalization on each channel was also made flat.
Bouncing between the OM-3 and the “58” my first impression was how similar the two sounded. But, after listening, the Audix seemed to warm up the stage around 100-200 Hz Cranking the monitor wedge up a slight woof appeared. Rolling the high pass filter up to 125-160 Hz remedied that, to produce a crisp, clean, exceptional sounding microphone. My sss’s and ttt’s were natural and not over emphasize.
The rejection of the “3” was very good. Tweaking the monitor desk, I had no problem reaching 100 db. plus levels.
The Audix OM-5 impressed me even more. More high end around 6.3k, some mid peaks about 630hz and the same lows, 100-200hz, as the 3xb. Dialing out a bit of 630hz. and bringing up the volume, the mic became natural and very loud rejection was even better, resisting the background band.
On stage, I would not see any problem keeping the mic’s under control in a 100db plus atmosphere. The “5” suited for a drum vocal, the “3” for a guitar vocal, with loud guitar amps.
Moving to the front of house mix position, it was like being reintroduced to the Audix microphones. Entertaining the mic’s to some instruments, accordion, horns and a upright piano showed the versatility of both. The Joe Fedorchak Orchestra accordion was reproduced very well with the OM-5. The mic placed the accordion in my FOH mix very well, sounding tonally balanced. The OM-3 was well received on trumpet and sax since not having much channel EQ at this show. No distortion or overdriving of the mic’s was evident. Using the OM-5 on the rear of a upright piano picked up just the right tight pattern I needed for a old ragtime sound.
When I compared the Audix OM-5 to Shure Beta 58’s it became evident to me, the natural sonic differences the OM-5 held. Even leaving the console channel flat, the “5” rejected background better and sounded less brittle than the Beta 58. The OM-3xb I used on a female jazz vocalist brought out some nice warm low-mid tones.
On the downside, the hypercardioid pattern might be a slight disadvantage. inexperienced singers(talent) might not be used to staying right up on the mic’s. Creating an inconsistent volume(gain) for all involved. Although, this is a very minimal complaint for a couple of remarkable microphones.
Choosing a professional microphone for use on your big tour, church, live TV spot, or studio can be confusing. Consider all the hundreds of choices available in 1995, what does one do? Well, I have found two microphones that hold their own in a variety of my uses. I would presume that other uses could be found. A two year warranty and lifetime service on parts become a pretty good bang for your buck at $279.00 list. I am sure though each of these Audix products could be purchased at you local Audix dealer for less than $200.00. The Audix Corporation is well on their way to setting new standards in the microphone industry.

Your nearest Audix dealer can be found by calling;

The Audix Corporation
29103 SW Kinsman Road
Wilsonville, OR 97070
(714) 588-8072
Fax; (714) 588-8172
Sales; (800) 966-8261