Professional Dynamic Instrument Microphone
The D2 dynamic instrument microphone is used for stage, studio, and broadcast applications. It is designed with a hypercardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ diaphragm for natural, accurate sound reproduction.
The D2 is an excellent choice for miking instruments with a percussive nature such as rack toms, congas, saxophones, guitar cabinets, and brass. Transformerless design, low impedance, and balanced output insure that the D2 hypercardioid instrument microphone will perform interference-free.
Designed, machined, assembled, and tested by Audix in the USA.
for orders $199 and up. Learn more
|Frequency Response||68 Hz – 18 kHz|
|Output Impedance||280 ohms|
|Sensitivity||1.2 mV / Pa @ 1k|
|Capsule Technology||VLM Type B|
|Off-Axis Rejection||>30 dB|
|Maximum SPL||≥144 dB|
|Polarity||Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of output XLR connector|
|Materials / Finish||Black Hard Coat|
|Weight||128 g / 4.5 oz|
|Length||100 mm / 3.9 in|
“Audix D2 – my mic of choice for toms (especially 10’s and 12’s) and bass cabinets. Love the warmth, without needing to add EQ, and they are able to give me a natural, accurate sound. Handles the transients and attack of Victor Wooten’s style of playing, plus the low profile and side/rear rejection is an added bonus for optimal results on Derico Watson and JD Blair’s kits.”
-Jack Trifilgo, Production Manager and Front of House Engineer for Victor Wooten
“The D2 makes getting amazing drum tones quick and easy!”
-Jerry Guidroz, Front of House Engineer for Winery Dogs and Adrenaline Mob with Mike Portnoy
“The D2 is a great mic for many applications. On drums great on toms and a compact bottom snare mic. It’s low profile a multi-purpose tool for me on percussions, electric guitars, leslie low and high mic.”
-Rance Caldwell, Monitor Engineer for Crosby, Stills, and Nash
“Audix D2’s are one of my secret weapon mics — huge and full-on toms, perfect on congas, smooth on sax, and the tight hypercardioid pattern and high-SPL handling are just the thing in the studio or onstage.”
-George Petersen, Editor Front of House Magazine