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Audix MICROS Series

Small out-of-the-way microphones have innumerable applications, particularly in live performance or lectern applications, and the Audix Micros Series

Audix MICROS Series

Jul 1, 2004 12:00 PM,
By John McJunkin

Audix M1245

Small out-of-the-way microphones have innumerable applications, particularly in live performance or lectern applications, and the Audix Micros Series definitely fits the bill.

The Micros series of condenser microphones initially came about as a result of experimentation by Audix with increasingly smaller preamp designs. The cigarette-size M1290 ($399) was the first incarnation, and ultimately, the M1245 ($379) followed. In order to shrink the microphones, sacrifices were necessary — for instance, the loss of an octave of low-end response in the M1245. Also, interfacing the preamp with the capsule on such a small scale presents tremendous challenges in terms of noise floor and interference levels. Nonetheless, after all the hard work, these microphones emerge as useful, high-quality units.

THE DETAILS

The M1290 is, as the name implies, 12 mm in diameter and 90 mm in length. The M1245 is simply half that length. In the case of the M1290, there are three polar patterns available: cardioid, hypercardioid, and omnidirectional. I tested a cardioid pair. The M1245 comes in just cardioid and hypercardioid versions; the pair I tested was the M1245 CV, which is the contractor-version cardioid.

These mics are otherwise virtually identical in terms of the specs, with an output impedance of 250W and a more than sufficiently low equivalent noise level of 19 dBA. Signal-to-noise ratio here is 75 dB, and these mics can handle a sound pressure level (SPL) of greater than 138 dB. Because they are not electret condensers, phantom power is required, and though many phantom-powered mics are relatively forgiving, these ones definitely want to see 48V to 52V. Frequency response is published at 40 Hz to 20 kHz in the case of the M1290 and 80 Hz to 20 kHz in the case of the M1245.

The whole package is tidily contained in a handsome black-anodized machined brass housing. In addition to taking up little physical space, the microphones are also exceedingly light in terms of weight, with the M1290 at only 28 grams and the M1245 at just 17 grams. Incidentally, there is a third model, the M1244 ($379), which is virtually identical to the M1245 with the notable exception that it is designed to handle higher SPL (up to 144 dB) and is useful, for instance, in miking drums.

These mics deliver with a 12-foot-long, 3.3 mm diameter mini-XLR to XLR cable. Because the mics are so much smaller than most of their counterparts, a necessary mic stand adapter is also included. In the case of the M1290, a nice rosewood case contains the mic and accessories. Longer cables of 25 and 50 feet are available, and integrators have two other appealing options in terms of mic placement. A transparent Hanger-Micro is available for ceiling-hanging applications and is particularly nice for live recording. The SMT-Micro stand adapter is also available, featuring an effective shockmount.

Audix M1245 and M1290

THIS IS A TEST …These little microphones simply begged for numerous test applications, the point being to see what they can do. The first application was the M1290 on a percussion setup. This arrangement produced more low end than was really necessary, so the M1245 was chosen as the alternative. The percussion player was not aware of mic technique and sometimes played significantly far away from the mic pickup area. The wide cardioid pattern was forgiving in that regard, but the trade-off was that there was some leakage from the drum set.Another obvious application for these microphones is for podium use. In fact, a gooseneck is available from Audix, and one was included with the test kit. I put the M1245 on the gooseneck accessory and set up the mic on a lectern, and the mic was right on the money. The wide pattern worked very well here, and the microphone sounded natural on multiple speakers with different vocal characteristics — even with people who stand back a few feet from the lectern.Another common application for a microphone like this would be on a saxophone. The M1290 achieved a natural sound in that scenario, and excellent tone was captured from alto to soprano and even flute. This is the kind of application in which the resolution of a condenser is likely to give pleasant results, and the M1290 did not disappoint.As stated previously, one of the accessories is an transparent hanging device made of clear plastic that holds the cable and positions the mic for choir applications. Due to logistics, the microphones couldn’t be hung that way, but a choir reinforcement test was a must-have, so two M1290s were positioned in an x-y configuration on a boom stand to capture a 35-member choir. This type of application requires a lot of gain before feedback, and these microphones performed well in that regard. The low end was nice, and a good overall choir sound was obtained.Another application was recording a youth wind orchestra playing Mussorgsky’s Pictures at an Exhibition, again in x-y configuration slightly behind and above the conductor. The mics again achieved good results, from the promenades to the thundering power of the “Great Gates of Kiev.” Although the low brass instruments — trombone, tuba, and so on — had an edgy quality, overall I was pleased with the results. Imaging was very nice.ON GUITARThe final application was an acoustical guitar recording. A pair of M1290s was angled 100 degrees, spaced 170 mm, and a pair of M1245s was placed in an x-y configuration. The high-end resolution once again was nice and smooth. Oddly enough, these mics did not exhibit the boominess one might expect from condensers on a guitar. In fact, the low end might even be considered a little weak for capturing solo guitar. On the other hand, if the guitar is being mixed with other instruments, the natural curve of these mics results in the guitar fitting into the mix a little more easily. Invariably, I tend to carve low end off of an acoustic guitar in the mix anyway, and these mics helped eliminate the negative effects of drastic EQ in this application.The Audix Micros Series M1290 and M1245 are wonderful little microphones. They can be useful almost anywhere you’d use a larger-diaphragm condenser, and they’re quiet and visually unobtrusive, as well. Don’t expect huge low end; that’s not the strong suit here. For the rest of the spectrum, however, you’ll be pleased.John McJunkinis the principal of Avalon Audio Services in Phoenix and engages in consulting for both studios and live sound applications.PRODUCT SUMMARYCompany: Audix Corp., www.audixusa.comProduct: MICROS Series microphones (M1244, M1245, M1290)Pros: Small, unobtrusive, natural sound.Cons: Lack of deep low end (more so in the M1245).Applications: Live applications, lecternsPrice: M1244 ($379), M1245 ($379), M1290 ($399)SPECIFICATIONSLength 90 mm/3.54 inches (M1290), 45 mm/1.77 inches (M1245)Width 12 mm/0.47 inchesWeight 28g/0.99 oz (M1290), 17g/0.60 oz. (M1245)Frequency Response 40 Hz-20 kHz (M1290), 80 Hz-20 kHz (M1245)Equivalent Noise Rating 19 dBASPL Handling 138 dBOutput Impedance 250WPower Requirement 48-52V

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