Audix introduces the I-5, a general purpose, cost effective instrument microphone. The I-5 is a dynamic microphone that you can use for any instrument mic'ing application on stage and in the studio. With its sleek styling and unique probe cap design, the I-5 features a durable cast zinc alloy body and black E-coat finish.

The I-5's cardioid polar pattern allows it to focus on the specific instrument that is being mic'ed while rejecting other instruments or ambient noise on stage. With a smooth and uniform frequency response of 50 Hz-16 kHz and an ability to handle sound pressure levels in excess of 140 dB, the I-5 can be used for a wide variety of applications and for all genres of music.

The I-5 comes with a heavy duty mic clip and carrying pouch. Every I-5 is attractively laser etched with its model and serial number.

Operation and Maintenance:
Although the i-5 is designed and built to handle the rigors of live performances and touring, it should still be handled with care. Avoid extreme moisture and extreme temperatures whenever possible and store the microphone in the provided carrying pouch whenever it is not in use.

Phantom power: The i-5 is a dynamic microphone and does not require phantom power; be assured that phantom power will not adversely affect the performance of the i-5 in any way.

Recording: The i-5, which has a very sophisticated, high quality transducer element, is an excellent utility microphone for any recording studio. The tight cardioid pick-up pattern of the i-5, along with the its ability to handle very high sound pressure levels, allows the microphone to be used in almost any "close miking" application. In this respect, studio miking techniques for the i-5 will be similar to that of live sound miking.

Live Sound:
Snare: Getting a great snare sound is not a problem with the i-5. Single-mic snare technique: The i-5 should be about 2 inches above the head and aimed towards the center of the drum. For more "rim" effect the mic can be aimed less towards the center and more towards the rim. It is not uncommon for engineers to place the mic practically right on the drum head to achieve a very tight, cracking sensation.

Two-mic snare technique: An additional i-5 or a condenser mic, like the SCX1-C or ADX-51, can be placed beneath the drum, aimed at the snares. The two mics can be blended together to present a very full, accurate picture of the snare. The two mics should be switched out-of-phase from one another, or certain frequencies will cancel each other out, and the sound will appear too thin.

Toms, congas: Similar to the snare, start by placing the mic 2" above the head and pointing towards the center of the drum.

Guitar cabs: The i-5 can be placed on axis directly in front of the cabinet, practically touching the grill cloth. Do not aim the mic directly at the center of the cone. For best results, place the mic between the center of the cone and the edge of the speaker.

Saxophone, trumpet , and brass instruments: Typically, the mic should be aimed right into the bell of the instrument. The mic can be anywhere from zero to 6 inches away depending on how many other instruments are on stage, and how loud the music is.

Vocals: The i-5 will also provide great sounding, powerful vocals. Working range is anywhere from 2-6 inches, depending on the instruments on stage, the volume of the music, and the type of stage monitors. Sing directly on axis into the microphone.

Mic placement: In general, allow a minimum distance of 2-3 feet between microphones to avoid phase problems.

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