Audix ADX 51
Special Microphone
- For overhead recording
- Professional electret condenser microphone
- Polar pattern: cardioid
- Frequency range: 40 Hz - 18 kHz
- Impedance: 100 Ohm
- Max. SPL: 132 dB (142 dB with pad)
- Also suitable for flute, strings, etc.
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Available since December 2004
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Item number 175804
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Sales Unit 1 piece(s)
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Battery Powered No
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Directional Microphone No
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Stereo Pair No
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switchable lowcut Yes
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switchable pad Yes
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characteristic cardoid
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Condenser Microphone Yes
Put a specialist on the cymbals
Like many of the specialised microphones from US manufacturer Audix, the ADX51 has a very clearly defined role: It's designed with high frequencies firmly in mind. As a result, this small‑diaphragm microphone is particularly well suited to capturing a drum kit's cymbals, where its bright, assertive sound is ideal. The ADX51's clear high‑frequency response helps cymbals sit cleanly in the mix, maintaining detail without sounding brittle. At the same time, the ADX51 is not limited to studio use – its robust brass housing makes it more than capable of handling the realities of live work on stage. Alongside its detailed sound, it offers a number of practical features, including a 150 Hz low‑cut switch and a ‑10 dB pad, almost indispensable when close‑miking a high‑level hi‑hat. The ADX51 is supplied with a small pouch, a mic clip, and a slip‑on windshield. Taken as a whole, the package is sensibly priced, making the outlay for a second ADX51 for a typical stereo overhead pair a perfectly realistic option.
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Add a little shimmer
The Audix ADX51's main strength lies in its ability to capture clear, well‑defined high frequencies. While the quoted frequency range technically spans from 40Hz to 18kHz, a look at the frequency response shows that the real emphasis sits between between 8 and 15kHz. This is, of course, exactly the range occupied by assertive‑sounding cymbals. A lift in this area can also add a welcome touch of bright articulation to other sound sources, although the way the frequency response is deliberately shaped does mean that the low end plays no more than a minor role here. The ADX51 itself is a pre‑polarised electret condenser microphone and is powered via phantom power (between 9V and 52V). Its maximum SPL is rated at 132dB, and with the pad switch engaged, even loud signals of up to 142dB can be captured cleanly without distortion.
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High frequency overheads
If a sound rich in high frequencies is the goal, the Audix ADX51 is a strong candidate. Its primary role is to capture cymbals in overhead setups with as much presence and clarity as possible. As such, it's particularly well suited to musical styles where the overheads aren't expected to represent the entire drum kit, but are instead focused squarely on cymbal reproduction, with the shells largely handled via dedicated close miking. Even though the ADX51 is a small‑diaphragm condenser microphone, it's also proven to be impressively robust, especially in live use. This comes down to its solid brass housing and the build quality – like many of Audix's professional mics, the ADX51 is entirely assembled in Oregon. Despite that, the microphone remains relatively affordable, meaning sound engineers and drummers won't have to dig too deep even when putting together a stereo pair.
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About Audix
Audix is a US microphone manufacturer which was founded in 1984. The small company has its headquarters in Wilsonville, Oregon and offers a wide selection of microphones – both for the recording studio and for live use. The range of products extends from instrument microphones, such as those from the well-known D series, to vocal microphones with complete wireless systems. The company's remit goes beyond the music industry, however, since it also provides lavalier microphones, console microphones, and other devices for permanent installation. Audix also produces headphones and various microphone accessories, such as stands and XLR cables.
Bring sound to life
The Audix ADX51 delivers its most convincing results when paired with a second one in a stereo overhead setup, particularly when the focus is firmly on cymbal capture, as opposed to a more balanced image of the entire kit. Hi‑hat miking is another strong suit, where the ADX51 really profits from its limited low‑frequency response; similarly, the cardioid pickup pattern is also a major strength, as it allows for precise positioning and effectively reducing unwanted low‑end content and spill from the drums. Typical issues such as murky low‑frequency build‑up caused by an exaggerated proximity effect aren't really a concern – particularly when the 150Hz low‑cut filter on the microphone is engaged. Beyond drums, the ADX51 also pairs well with instruments that rely less on bass content and more on clear, well‑defined high frequencies or a sound that needs to cut through: Flutes and string instruments are good examples here. In the same way, the Audix ADX51 can also help bring a bit of life to sound sources that might otherwise sound a little flat or dull.
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