Audix OM5 vs. OM6

[LeBaron & Alrich]

I'm seeking experienced comparisons of these two mics, the Audix OM5 and
OM6. I have a pair of OM5's that I rather like for live work, and
sometimes in the studio, too. I need to add either one more of those or
get 3 OM6's, as I have wholesale access to those.

TIA

--
hank alrich * secret mountain
audio recording * music production * sound reinforcement
"If laughter is the best medicine let's take a double dose"

[Tim Padrick]

The OM5 has a tighter pattern. The OM6 is more forgiving of poor mic
disipline and sounds better (cleaner). However I'd bypass them both and go
with OM7s. Better sound and better gain before feedback. The lower output
is a non issue - I have used them on high-end and cheezy consoles with
excellent results - just turn up the trim a bit. You can often get them
used from RatSound.com for $125 to $150, or occasionally on ebay.

I'd be careful using multiple models on the same monitor mix, as with some
wedges they require rather different monitor EQ to take care of feedback.

Post by LeBaron & Alrich
I'm seeking experienced comparisons of these two mics, the Audix OM5 and
OM6. I have a pair of OM5's that I rather like for live work, and
sometimes in the studio, too. I need to add either one more of those or
get 3 OM6's, as I have wholesale access to those.
TIA
--
hank alrich * secret mountain
audio recording * music production * sound reinforcement
"If laughter is the best medicine let's take a double dose"

[Shaun]

Post by Tim Padrick
The OM5 has a tighter pattern. The OM6 is more forgiving of poor mic
disipline and sounds better (cleaner). However I'd bypass them both and go
with OM7s. Better sound and better gain before feedback. The lower output
is a non issue - I have used them on high-end and cheezy consoles with
excellent results - just turn up the trim a bit. You can often get them
used from RatSound.com for $125 to $150, or occasionally on ebay.
I'd be careful using multiple models on the same monitor mix, as with some
wedges they require rather different monitor EQ to take care of feedback.

I'll second the recommendation for the OM7's. Well worth it; that's what I
provide for go-to/first-choice vocal mics. If you like the OM5, you'll love
the OM7. I also mix FOH for a provider who has 3 OM7's and 3 OM6's... it's
a PITA to mix and match those two models, especially for the monitor person.

[LeBaron & Alrich]

Post by Shaun

Post by Tim Padrick
The OM5 has a tighter pattern. The OM6 is more forgiving of poor mic
disipline and sounds better (cleaner). However I'd bypass them both and go
with OM7s. Better sound and better gain before feedback. The lower output
is a non issue - I have used them on high-end and cheezy consoles with
excellent results - just turn up the trim a bit. You can often get them
used from RatSound.com for $125 to $150, or occasionally on ebay.
I'd be careful using multiple models on the same monitor mix, as with some
wedges they require rather different monitor EQ to take care of feedback.

I'll second the recommendation for the OM7's. Well worth it; that's what I
provide for go-to/first-choice vocal mics. If you like the OM5, you'll love
the OM7. I also mix FOH for a provider who has 3 OM7's and 3 OM6's... it's
a PITA to mix and match those two models, especially for the monitor person.

Thanks, Tim and Shaun. The upcoming situation is one where I'll be
providing FOH and mons in a small and nice theater, and also recording
for a CD product from the concert, to be mixed after fact. The group is
small, a female vocal trio doing classic standards with keyboard
accompaniment throughout, augmented for about a third of the songs with
electric bass and drums.

I need three well matched vocal mics because the singers change position
depending on which one is the "lead" singer for a given song. Their mics
will run into a Millennia HV3D preamp, so gain isn't an issue. A tighter
pattern might be less useful in this situation where there will
necessarily be some performer movement due to the slightly theatrical
nature of their show. Feedback won't be an issue. Onstage and FOH SPL
will be well below that point. A good capture of each voice is
important.

The specs of the OM7 suggest it has a very tight pattern. Does that fit
with your experiences?

And thanks again for the input.

--
hank alrich * secret mountain
audio recording * music production * sound reinforcement
"If laughter is the best medicine let's take a double dose"

[George Gleason]

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
The OM5 has a tighter pattern. The OM6 is more forgiving of poor mic
disipline and sounds better (cleaner). However I'd bypass them both and go
with OM7s. Better sound and better gain before feedback. The lower output
is a non issue - I have used them on high-end and cheezy consoles with
excellent results - just turn up the trim a bit. You can often get them
used from RatSound.com for $125 to $150, or occasionally on ebay.
I'd be careful using multiple models on the same monitor mix, as with some
wedges they require rather different monitor EQ to take care of feedback.

I'll second the recommendation for the OM7's. Well worth it; that's what I
provide for go-to/first-choice vocal mics. If you like the OM5, you'll love
the OM7. I also mix FOH for a provider who has 3 OM7's and 3 OM6's... it's
a PITA to mix and match those two models, especially for the monitor person.

Thanks, Tim and Shaun. The upcoming situation is one where I'll be
providing FOH and mons in a small and nice theater, and also recording
for a CD product from the concert, to be mixed after fact. The group is
small, a female vocal trio doing classic standards with keyboard
accompaniment throughout, augmented for about a third of the songs with
electric bass and drums.
I need three well matched vocal mics because the singers change position
depending on which one is the "lead" singer for a given song. Their mics
will run into a Millennia HV3D preamp, so gain isn't an issue. A tighter
pattern might be less useful in this situation where there will
necessarily be some performer movement due to the slightly theatrical
nature of their show. Feedback won't be an issue. Onstage and FOH SPL
will be well below that point. A good capture of each voice is
important.
The specs of the OM7 suggest it has a very tight pattern. Does that fit
with your experiences?
And thanks again for the input.

Hank
I use the om7 as my main vox mic
but I do not recommend it for this application
it is not kind to female vox and the tight pattern may cause issues with the
singers mic technique
if the budget allows get the vx-10 from audix if not try a m88
it is less peaky in the6- 8K range than the om7
i have had good luck with beta87c as well
but i find the audix om very hard to get a smooth female vocal from
I just got back from AES and the Sennheiser 865 really inpressed me as
well(not as nice as the vx-10 but very nice)
the audia technica 4500 is getting high marks from TY FORD
whos opinion, as you know, is worth listening to
It has the element from the 4050 in a handheld package
George

[Tim Padrick]

I have found the OM7 to be pretty female friendly, but this may be speaker
dependent to a degree. They do indeed have a very tight pattern and really
must be "eaten", so George may well be right in recommending another model
for this application. I second his recommendation of the VX10, a very nice
mic if the budget allows (about $400 per). Unfortunately I have not used
the other mics George mentions, but I expect his advice is well worth
taking.

Post by Tim Padrick

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
The OM5 has a tighter pattern. The OM6 is more forgiving of poor mic
disipline and sounds better (cleaner). However I'd bypass them both

and go

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
with OM7s. Better sound and better gain before feedback. The lower

output

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
is a non issue - I have used them on high-end and cheezy consoles with
excellent results - just turn up the trim a bit. You can often get

them

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
used from RatSound.com for $125 to $150, or occasionally on ebay.
I'd be careful using multiple models on the same monitor mix, as

with

Post by Tim Padrick
some

Post by LeBaron & Alrich

Post by Shaun

Post by Tim Padrick
wedges they require rather different monitor EQ to take care of

feedback.

Post by LeBaron & Alrich

Post by Shaun
I'll second the recommendation for the OM7's. Well worth it; that's

what I

Post by LeBaron & Alrich

Post by Shaun
provide for go-to/first-choice vocal mics. If you like the OM5,

you'll

Post by Tim Padrick
love

Post by LeBaron & Alrich

Post by Shaun
the OM7. I also mix FOH for a provider who has 3 OM7's and 3 OM6's...

it's

Post by LeBaron & Alrich

Post by Shaun
a PITA to mix and match those two models, especially for the monitor

person.

Post by LeBaron & Alrich
Thanks, Tim and Shaun. The upcoming situation is one where I'll be
providing FOH and mons in a small and nice theater, and also recording
for a CD product from the concert, to be mixed after fact. The group is
small, a female vocal trio doing classic standards with keyboard
accompaniment throughout, augmented for about a third of the songs with
electric bass and drums.
I need three well matched vocal mics because the singers change position
depending on which one is the "lead" singer for a given song. Their mics
will run into a Millennia HV3D preamp, so gain isn't an issue. A tighter
pattern might be less useful in this situation where there will
necessarily be some performer movement due to the slightly theatrical
nature of their show. Feedback won't be an issue. Onstage and FOH SPL
will be well below that point. A good capture of each voice is
important.
The specs of the OM7 suggest it has a very tight pattern. Does that fit
with your experiences?
And thanks again for the input.

Hank
I use the om7 as my main vox mic
but I do not recommend it for this application
it is not kind to female vox and the tight pattern may cause issues with the
singers mic technique
if the budget allows get the vx-10 from audix if not try a m88
it is less peaky in the6- 8K range than the om7
i have had good luck with beta87c as well
but i find the audix om very hard to get a smooth female vocal from
I just got back from AES and the Sennheiser 865 really inpressed me as
well(not as nice as the vx-10 but very nice)
the audia technica 4500 is getting high marks from TY FORD
whos opinion, as you know, is worth listening to
It has the element from the 4050 in a handheld package
George

[LeBaron & Alrich]

Post by Tim Padrick
I have found the OM7 to be pretty female friendly, but this may be speaker
dependent to a degree. They do indeed have a very tight pattern and really
must be "eaten", so George may well be right in recommending another model
for this application. I second his recommendation of the VX10, a very nice
mic if the budget allows (about $400 per). Unfortunately I have not used
the other mics George mentions, but I expect his advice is well worth
taking.

Based on what I'm hearing so far, I can say that the OM5 into an
excellent preamp will deliver a pretty nice female vocal sound. So I
think my sensible move here is to add a third one to my stash and just
go with those. The Millennia will suffice for a preamp.

The final product will depend more on the excellence of performance than
upon my gear choice or manipulations. <g>

Many thanks to all for the good commentary.

--
hank alrich * secret mountain
audio recording * music production * sound reinforcement
"If laughter is the best medicine let's take a double dose"

[Phildo]

Post by Tim Padrick
I have found the OM7 to be pretty female friendly, but this may be speaker
dependent to a degree. They do indeed have a very tight pattern and really
must be "eaten", so George may well be right in recommending another model
for this application. I second his recommendation of the VX10, a very nice
mic if the budget allows (about $400 per). Unfortunately I have not used
the other mics George mentions, but I expect his advice is well worth
taking.

George is spot on as usual but how about you renting the mics for the night
instead of buying them?

Add a recommendation for the Neumann KMS105 to the list George gave you.

When are Audix going to get proper distribution and recognition on this side
of the pond?

Phildo

[Michael Gaster]

Post by George Gleason

Post by Tim Padrick
I have found the OM7 to be pretty female friendly, but this may be speaker
dependent to a degree. They do indeed have a very tight pattern and

really

Post by Tim Padrick
must be "eaten", so George may well be right in recommending another model
for this application. I second his recommendation of the VX10, a very

nice

Post by Tim Padrick
mic if the budget allows (about $400 per). Unfortunately I have not used
the other mics George mentions, but I expect his advice is well worth
taking.

George is spot on as usual but how about you renting the mics for the night
instead of buying them?
Add a recommendation for the Neumann KMS105 to the list George gave you.
When are Audix going to get proper distribution and recognition on this side
of the pond?
Phildo

actually I sold some OM-5's to Paul Mathews over there in the UK for
considerably cheaper than he could get them locally... so if you know anyone
who needs some AUDIX stuff over on that side of the pond I should be able to
help them out...

Michael

[Paul Matthews]

Post by Michael Gaster
actually I sold some OM-5's to Paul Mathews over there in the UK for
considerably cheaper than he could get them locally...

Should I find myself in the market for more Audix mics I know where my first
stop will be <G>

[Paul Matthews]

Post by Phildo
When are Audix going to get proper distribution and recognition on this side
of the pond?

There were problems with the use of the Audix name over here.

They have a distributor (Comsec), and they are available retail at digital
village http://www.digitalvillage.co.uk/dv/amain.asp with am OM5 at £156, but
with contacts (Hi MG!) you can do it for less direct from the states.

When I bought mine they were retailing at £200, so the price differential is
not as high as it was.

[Ty Ford]

Post by George Gleason

Post by Tim Padrick
I have found the OM7 to be pretty female friendly, but this may be speaker
dependent to a degree. They do indeed have a very tight pattern and

really

Post by Tim Padrick
must be "eaten", so George may well be right in recommending another model
for this application. I second his recommendation of the VX10, a very

nice

Post by Tim Padrick
mic if the budget allows (about $400 per). Unfortunately I have not used
the other mics George mentions, but I expect his advice is well worth
taking.

George is spot on as usual but how about you renting the mics for the night
instead of buying them?
Add a recommendation for the Neumann KMS105 to the list George gave you.
When are Audix going to get proper distribution and recognition on this side
of the pond?
Phildo

Flip on the High Pass filter and Pad on the Audio Technica AE5100 and you
get a VERY nice live mic. You can eat it, whereas you can't eat a KMS 105.
Flip off and you can use it in the studio.

Regards,

Ty Ford

**Until the worm goes away, I have put "not" in front of my email address.
Please remove it if you want to email me directly.
For Ty Ford V/O demos, audio services and equipment reviews,
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