Dan Stork
Melbourne, Australia

"Touring with punk bands means gear-especially vocal microphones, which have a very tough life on the road. They get thrown and dropped on a nightly basis. While I have been using Audix microphones for stage instruments for a long time, it was changing my vocal microphones to Audix that was the real breakthrough for me. I had been using beta58s due to their availability and reputation for build strength; however once I used the OM series microphones for live vocals I knew I would never look back. They are true road warriors, holding up perfectly under constant punishment while sounding absolutely incredible night after night. The mid-range warmth, top end bite and extremely tight polar pattern drastically reduces stage noise while keeping the vocal in your face and full-bodied. The stage rejection on the OM6 and OM7 mics is incredible. Heavy punk bands tend to have an extremely loud stage volume yet these mics are like an isolate vocal track. They only pick up the vocals and a minimal amount of stage noise. This means I don't end up processing cymbals, snare and guitars on my vocal channel!"

Dan has a Bachelor of Music Technology degree from the Queensland Conservatorium in Brisbane, Australia. However, his real education was achieved while mixing bands in various clubs of ill and high repute in Brisbane's much-loved music scene, before moving to Melbourne in 2012.

Dan is currently an in-house engineer at the Northcote Social Club, which has played host to intimate shows by The Pixies and Lady Gaga and is described as "the quintessential Melbourne bandroom" by the state tourism body, Tourism Victoria. When he's not enjoying sleeping in his own bed, he tours as the FOH engineer for Clowns, Hockey Dad, Fourteen Nights At Sea and Hope Drone.

Phil Forchelli, City Entertainment Systems
Walport, PA

Nearly 300,000 visitors each year attend the annual Celtic Classic Festival in Bethlehem PA, the largest music festival of its kind in North America. City Entertainment Systems of Walport, PA provided production services for all seven performance areas and game field locations, as they have for many years. They use a variety of Audix wired and wireless microphones, including the OM5, OM6, VX5, i5 and D Series drum microphones. Here's the story as told to us by Phil Forchelli, the company's founder.

"With the demands for clear, full sounding monitors at high volume concert levels, no other mic gives you the consistent control and performance of an Audix. My head monitor tech, Ed Serifin, swears by these mics. I know as an Audix dealer and end user how dependable and tough they are, even when in constant use on the road. We have dozens and dozens in our inventory, and have almost never had one fail (even when dropped by over exuberant lead singers and whacked by high-powered drummers).

The headsets and wireless RAD 360 systems work well on the Game Fields and Piping Grove. When you've got 10,000 plus spectators watching an event, you better have a wireless system you can count on, especially when there are so many wireless devices and radios all competing for the same frequencies.

Our opinion: Audix mics perform! That's why they're our microphone of choice for the Celtic Classic Festival, New York City's Veterans Day Parade, Great Allentown Fair and every other high profile event we do."

Tim Neufeld and the Glory Boys
British Columbia, Canada

By Jon Mushaluk, technical director and upright bass player for the band

Tim Neufeld is a JUNO award winning recording artist based in Abbotsford, BC. Tim is best known as the cofounder and lead singer of EMI recording artist STARFIELD who are four time JUNO Award nominees, Western Canada Music award recipients, winners of 10 GMA Canada Covenant Awards (CGMA) and 2 Dove Awards. Tim's first solo endeavour TREES, won the 2014 JUNO Award for Contemporary Christian/Gospel Album of the Year as well as the award for the 2013 CGMA Modern Worship Album of the Year. After the release of TREESTim and The Glory Boys  embarked on the TREES TOUR in which the band performed in 60+ Canadian markets.

Tim's sophomore album THE JOY was released in September 2014 to critical acclaim and earned him a JUNO 2015 nomination. THE JOY album has quickly found its way into the ears and hearts of both new and longtime fans. Tim's latest album, TREES 2 is set for release October 9, 2015. The album is a collection of covers of beloved worship songs which Tim once again puts his own unique interpretation.

Tim and the Glory Boys continue the Joyride Tour in Fall 2015 (150 shows and counting). They will once again undertake an extensive tour across Canada delighting generations of fans with their unique brand of bluegrass infused modern worship music.

The band has toured most of Canada, and travels with a complete PA and lighting rig. Part of the band's philosophy is to play in small towns all over the country to recreate the feeling of a community dance-hall show. While some lighting and set elements are employed to garner interest from all ages, it is at its core a gospel centered event. The band, headed by Tim, consists of Colin Trask on Drums, Dobro, Pedal Steel, and vocals; Matt Stride on Guitar, Banjo, and vocals; and Jon Mushaluk on upright bass and vocals. The band also has one full-time crew member, Joel Trask.

Playing in a variety of venues halls, theatres, and small town churches, presents unique challenges daily. Tim Neufold has this to say about the Audix microphones the band uses:

"The pattern control afforded by a large part of the Audix mics allows us to have great consistency with all inputs every day. This consistency and the support of Audix Microphones for this latest tour has been revolutionary.

Over the years we've been through a lot of different mics, and now that we've found Audix, our drummer says it's the best sounds he's heard yet. The D6  and D4  sound huge right away. The M44  is perfect for unobtrusive cymbal miking. And for that open brush sound, we're using an SCX25A  from a distance on snare drum/hat. It makes every seat in the house sound like they're sitting on the drum throne.

We've also been using SCX25A mics for our stripped down bluegrass set (main mic and dobro). The pickup pattern is forgiving for us onstage, without being prone to feedback. The real plus is the unbelievably natural sound. Both the vocals and the instruments sound fantastic! Add in the ADX20ip on the upright bass for some added support, and wow! Actually, the ADX20iP  on the upright bass has been a game changer for us. Punching it in on the arco moments in the ‘pop' set makes it sound so rich and natural–upright bass, only louder!

We've switched to OM5s for vocals from a few of the usual suspects. The mics sound so natural and clean–especially in the in-ears. So many vocal mics struggle with proximity effect and a bloated midrange, or edgy upper mids. Not the OM5, it's just punchy and clear. We can't get over how little EQ was required.

The i5 on guitar amps (with the CabGrabberTM) has been a wonderful addition to our setup. The convenience and cleanliness of the CabGrabber on stage is a huge plus. It was especially noticeable on the pedal steel. It felt like a blanket had been removed from covering the amp. The transients were tighter, the midrange big, tight and so clean, and the top had a perfect shimmer to it without being brittle. Just changing out the mic made such a difference.

In short, we've never been happier with our sound on stage."

Michael and Bill Szymczyk
Los Angeles, CA

Hey Audix! My name is Michael Szymczyk, and I'm bringing you a quick story from myself and my dad, producer Bill Szymczyk (Eagles, James Gang and a whole lot more!).

Bill has been making records since the 60s, and as a drummer I've been working on projects with him for about 10 years. When we first started miking drums together I was always taught the best way to mic a drum kit was the standard he'd been using for decades: 57 on snares, 421s on toms and D112 on kick. For years we never deviated, and never thought we would. Over the last 12 months the band I'm in, Some Type of Stereo, recorded our first EP and just this month, we recorded our first LP. For those projects we switched up our drum mics to the Audix family (D6, D4s, D2 and I5), and we could not be happier with the sound we got out of them. It blew us both away! All those years we never thought we would stray from our standards, but you guys have upped the game for us and made what we do so much better. 

Thanks from both of us!

Michael & Bill

Justin W. Aldrich, Full Moon Productions
Tampa, FL

I started using Audix exclusively because the demand for better stage volume was needed for most of the venues in the central Florida area. I started using the OM7 for vocals, and never looked back. The selection of vocal mics gets the results that I am want to achieve. As a smaller production company, trying to meet the demands of different bands and venues can be very difficult. I usually do not have the luxury of a "sound check," and have to make adjustments on the fly. I know ahead of time what each mic will do and where it will fit into the mix. I am old school in that I do not believe in using a bunch of gates and compressors to achieve the desired sound. Audix gets me the awesome results I need.

Current mics:
D2, D3, D4, D6, Adx51, I5, OM5, OM7



Lou Caldarola , Owner the L.A.B.
Brewster, NY

I have been using audix for about 7 years now, both in my NY drum studio "the L.A.B." and with National act Kicksville!

I have always loved the quality of sound you get using Audix mics on my drum kits; they bring out the best and are always reliable. I use a D6 in the kick, I5 on the snare, SCX1 on the hats and sometimes as overheads, D2s on the toms and D4s on the floors.

Kicksville also uses a huge array of Audix products from drum miking to lead vocals! I highly recommend these mics.

Rui Moreira

Models that I have: D1, D2, D3, D4, D6, I5, SCX1, OM5. I've been using my mics in all concerts (such as Andre Indiana, Monica Ferraz, Amarelo Manga, etc...) and love them all! I'm almost forgetting other brand names. I'm also using TR40 for my pro audio repairing company and my old HRM-3(great sound) too. Next step... SCX25A! You rock ... and not only in drums! Thank you!

Rob Parker, Manager, Producer/Engineer, Triton Studios
Murfreesboro, Tennessee

I considered many possible microphones for recording drums here in my studio ( When I heard the sound of an Audix D6, it was like falling in love - I knew I found the one! I had the chance to hear some other Audix mics, and they blew me away. I immediately bought the DP7 mic kit. Now, I accept no substitutes for drum recordings. It's Audix or nothing.

Gene Smith, Sound Engineer, Rock Street Music
Pittston, PA

Being a sound engineer for Rock Street Music out of Pittston, PA we do a lot of local and national bands, so we are always looking to improve the sound. I first got interested in Audix mics when I saw Travis Barker use them on his drums. I loved the sound and next day bought them fell in love with them! I bought the D6, i5, 7 Micro Ds and ADX51. They always sound great! I use them 4 to 5 times a week! I also own the RAD360 wireless with OM3 head...never once in 4 years did it ever cut out, and it sounds great too. Recently I just got the OM5 and OM6 vocal mics, they're great! Love your microphones keep up the great rock Audix!

Steve Pettit
Atlanta, Geogia

I am a preacher in the North Atlanta metro area. After preforming a wedding for a couple, the groom said he would like to give me something; turned out to be an Audix RAD-360 wireless with the HT5 headset. I was currently using a Sennheiser/Countryman combo.

Since using the double ear Audix, I have never looked back. I enjoy the natural sound of Audix as well as the predictability of the whole system. The last thing I want is any distraction. This combination has eliminated that.

Since I received my Audix as a gift, I was concerned about service and warranty. The great thing is that I have not had any problems with it in 7 months of double services. Equally cool though; the guys at Audix said they would work with us should we ever have a manufacturer defect. That only happens when you believe in your product.

We have now gone on to purchase several other Audix mics for our worship team. In fact, we always check for an Audix application first when we need a new mic.

If you want to see and hear it in action, go to

Fips Rauchwarter

Hi there,

I'm working as monitor engineer for a project featuring a big band, a 23-piece string section and various soloists. The biggest problem except mic bleed for a situation like this is the piano in the monitors.

For FOH, the Boesendorfer grand is miked with two really expensive boundary mics taped inside the lid. For monitors, I clamped a D4 on the piano's string frame right in the middle pointing to the hammers (the lid is open approx. 6 inches).

The EQ setting: Low mid with broad Q at 400 Hz -2,5 dB, notch at 112 Hz at -7 dB. These settings depend (as always) on the room, the desk and the wedges.

What I got is a brilliant and full piano sound, even in the piano players wedge. Very much gain before feedback!

Unfortunately my 48-channel-desk is full, because when the channels are no problem I usually add a second mic to this system and move the D4 to the lower strings while a D1 is added to the high strings. This setup usually wakes up the dead (and also the deaf).

Sidenote 1:
The guy in the recording truck asked me during line check: "What's that third channel in the piano?". I told him that it is just my little helper for monitors and he said: "Don't move it, please! It's the first time I've heard balls on a Boesendorfer, and I'm sure this will be my main piano mic for tomorrow. I will use the condensers just a little bit as sparkle!" The same thing was said by the FOH engineer.

Sidenote 2:
I own more than 50 mics, 16 of them were built by Audix and I will own them till I die...

Tim Dwyer
Overland Park, Kansas

"I don't recommend you try this at home, but after reading about Shure's "drop test," I took one of my spare OM2 out to the garage and dropped itseveral times from about mic-stand level to a piece of 3/4" plywood. I dropped it straight down, at an angle, every way I could think of that it might hit the ground. Well, if you ever want to remove a dent from your windscreen, take the ball off, remove the foam insert, and use a broom handle or similar item to push the ball back into shape. However, you apparently won't need to do anything to your Audix mic, because it will still keep working even after all that abuse. Remember, I said I did it with a SPARE OM2.

The photo is from The Kansas City Star's website, and the mic is my personal favorite OM6."

(Additional note from Audix)

Thanks Tim. The grill ball for the OM series mics is made from a spring steel grill which is extremely dent resistant. Aside from the rugged capsule construction, the grill can take an amazing amount of punishmentcompared to other popular brands.