Review: Audix OMX Series & D6x

Making microphones out of Redwood California since 1984, Audix has acquired fans of the brand – users become enthusiasts. Its most recent releases include the OMX Series of dynamic vocal microphones and a new D6 kick mic, the D6x.
Described as a ‘new generation of dynamic microphones’, the OMX range sits alongside the popular OM range. They use the same metal construction but have their own look with a new flat grille – to help guide the performer towards the sweet spot. Each model in the OMX range is made with specific qualities to optimise performance for different vocal styles and stages settings.
Audix VLM (very low mass diaphragm) capsules are used across the Audix range and share the undisclosed proprietary materials used for the diaphragms. Altering the properties and relationships between the diaphragm, coil, magnet and housing create the capsules desired pattern and response.













OMX-T: PRECIOUS METAL
Three models make up the range. They’re all quite different to use but they all look and sound like modern microphones. Starting with the tightest first, the hyper-cardioid OMX-T offers an extremely tight pickup area around the mic and shallow pickup depth. Relatively low sensitivity (0.8mw/Pa) anticipates the high input levels it lives for. The tight pattern minimises spill and if you’re right on the head of the mic you’re in your own world and can do what you like – scream into it, completely cup the mic and yell into it, turn it up as much as you want in the monitors – no problems. But if you move away from the front of the mic at all, you’ll be lost. The frequency response suits the application too – accurate mids, bright but not harsh with a controlled proximity effect that avoids muddiness. Loud/metal/death bands will love these. I had mixed results: backing vocalists seem to like them, they usually sing close to the mic and enjoyed getting plenty of level in the foldback. Non-metal main singers, who usually can sing, noticed the sound dropping off too sharply as they moved around the mic.
OMX-M: FOLK HERO
The OMX-M model is aimed at singers who work close-to-medium distance from the mic. Audix identifies folk and country singers as potential users. It’s a different mic to the OMX-T: sensitivity is higher (2mv/Pa) and the frequency response has been aimed at emphasising the vocal range above 2kHz, while attenuating the low frequencies and proximity effect. The super-cardioid pattern is tight but not unforgiving like the OMX-T. This a good mic for singers who sometimes struggle to be heard above the band but don’t always want to have to eat the mic to be heard. I’d like to think bands play to the vocals – if they’re having trouble hearing the vocals then they naturally drop back until they can hear them. Singers always agree with me on this, but it doesn’t always happen. The OMX-M may help with its high gain-before-feedback and forward, almost bitey tone.
OMX-E: ALL SOUL
The OMX-E is more of a general-purpose vocal mic with a cardioid pattern – SM58-ish but slightly hotter and more present in the high-mids. Audix suggest jazz or soul singers. With a fuller response in the low frequencies and a moderate boost above 2kHz, this is a nice-sounding vocal mic that would suit most voices in most situations. Resistance to feedback is high and it’s an easy mic to use, especially if you’re not battling high ambient levels.
In use, matching the mic to the performer gets the best results. I was putting them up almost randomly to see what happened and found you need to be careful with the OMX-T, it’s very tight and needs a concentrated input to work at its best. The OMX-M and OMX-E models are easier for regular singers. Putting up unknown vocal mics is risky, and you have to be prepared to sometimes swap them for more familiar brands if the performer feels insecure, but the singers I gave these new Audix mics to were happy to use them (“clear sound” and they “cut through”, were comments I received).
RING OF CONFIDENCE
Coloured rings help identify the different models in the range, handy if you have them all, handier still if the protective carry bags had an identifying colour as well, I had to keep opening the bags to identify the model – a small point in the broader scheme of things. Overall, these are good, useable vocal mics, and reasonably priced, they will win new fans.






NEED TO KNOW
Audix OMX Series & D6x
Dynamic Vocal Mics & Drum Mic






PRICE
OMX Series: A$299 / US$159 each
D6x: A$595 / US$299



CONTACT
Link Audio: linkuadio.com.au
Audixusa: audix.com



PROS

Very different mics for different singers
Audix build quality
D6x is a D6 upgrade



CONS

Be careful with the OMX-T



SUMMARY
Another solid contribution from Audix, which continues to make excellent microphones from its California base. Always built well; always good value. I’m becoming an admirer.












AUDIX D6x
Also new and exciting from Audix is the D6x, an updated version of the famous Audix D6 – probably the world’s most popular kick drum mic. A staple in most touring mic kits the D6 has always had a distinctive sound – deep and thick and scooped, it will bring out the low end from kick drums that don’t have much to start with and provides a solid base for the drum sound. Talking into it quickly reveals how low-frequency heavy, mid-shy the D6 is and it’s not going to make a vocal or percussion mic no matter what you do to it. Terrific on a kick drum though.
The new D6x is nearly the same as the old D6 but gains a recessed three-position switch that changes the frequency response of the passive filter, and a large X moulded into the mic body. Switched to the Deep (original) position the response reaches down further to 25Hz (30Hz for the D6) but you’d need to be in a well-controlled situation to notice, it sounds like a D6 in normal use.
The centre (Balanced) position introduces some mids and high-mids to the response, the big low end remains but it’s good for a more natural kick sound, or horns, deep percussion or toms, maybe guitar cabs. The Natural position still has that bottom end but a more conventional wide, flat response…with some LF reduction it could sound good as vocal mic.
The switch and fancy ‘X’ will cost you around 50% more than the regular D6 but the list of potential applications, or different kick sounds, is significantly increased.
I’m becoming one the Audix admirers I’ve been writing about. The OMX range offers modern professional vocal mics tailored for different occasions. Always interesting and performer-focussed, they offer high quality, personality and good value.











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