Cost effective drum mic with extended low end for a fat, punchy kick or floor tom.
The F12 is a dynamic instrument microphone designed for live sound and studio applications. Characterized with a tailored frequency response of 40 Hz - 10 kHz, the F12 is ideally suited for instruments requiring bass and mid-high reproduction. A cardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sound coming from the room or from other instruments on stage.
Compact and roadworthy, the F12 features a durable die cast zinc alloy body, steel mesh grill, and integrated mic clip.
Low impedance and balanced output allow interference-free performance even with long cable runs.
- Live stage, recording
- Floor tom
- High hat, Congas, Bongos, Quintos
- Timbales, Shekere
- Guitar Cabinets
SUPPLIED ACCESSORIES: Carrying pouch (P1)
TRIPOD - Tripod mic stand
DFLEX - All purpose percussion clamp
DVICE - Spring loaded rim mount clamp
DCLAMP - Tension rod mic clamp
CBL-20 - 20’ XLR-XLR mic cable
CBL-DR25 - 25’ right angle XLR-XLR mic cable
APPLICATIONS: Snare, Toms, High hat, Congas, Bongos, Quintos, Timbales, Shekere, Guitar Cabinets, Floor Tom
ARCHITECTS AND ENGINEERS SPECIFICATIONS: The microphone shall be of the dynamic type available in a cardioid polar pattern. The nominal output impedance shall be equal to 250 ohms at 1 kHz. The microphone shall have a sensitivity at of 1.7 mV/Pa at 1 kHz. The microphone shall have a maximum SPL level of ≥135 dB with THD of 0.5%. The microphone body shall be of die cast zinc alloy. The dimensions shall be 22 mm in diameter at the base, 43 mm in diameter at the widest point and 118 mm in length. The microphone shall be the Audix F12.
OPERATION: The F12 is a low impedance microphone and should be plugged into a “mic level” input on your console, mixer, or recording device. Please note that the F12 does not require phantom power and will not be effected in any way by phantom power should it be running simultaneously while the microphone is in operation. Avoid plugging or unplugging the microphone from the PA system unless the channel is muted or the volume of the system turned down. Failure to do so may result in a loud “popping” noise which could seriously the speakers in the PA system.
USER TIPS: The F12 has a tight (cardioid) pick-up pattern in order to help minimize the sound from other instruments on stage from “bleeding” into the microphone. For this reason, the F12 is very effective for miking drums and percussion and in capturing the sound of each component of the kit. Drums, hand percussion: As a general rule, the bottom of the F12 should be 1-2 inches above the head of the drum and pointed towards the center. For more “ring” pull the mic back towards the rim; for less ring and more overtones, position the mic 1-2 inches inside the ring; for more attack, place the mic very close to the head; for more overtones and decay move the mic further away from the head.
Guitar cabs: The F12 can be placed within 1-2 inches of the grill cover at a 90 degree angle pointing directly into the speaker. If the mic is placed closer to the edge of the speaker, you will minimize the higher frequencies and get a warmer, fatter tone. To capture more highs, move the mic closer towards the center of the speaker, but avoid the middle of the speaker.
Horns: Place the F12 within 1-2 inches of the bell, especially when on a stage with drums, bass, guitar, etc.