Tech Review: Audix Microboom
In the quest for ever better sound we recently purchased a pair of Audix Microboom MB8450 microphones. In my opinion micing a choir is one of the biggest challenges in almost any situation, especially when you have a live band in relative close proximity. We have approximately 50 people in our choir and have experimented with a number of different microphones and techniques. Our Sactinasium gives us a unique problem in that we are naturally fighting the dreaded “tunnel” sound. Anything can easily sound like it’s in a tunnel if you are not careful in our room. That makes micing a choir that much more difficult. Before trying the Audix setup we were using 4 Shure SM81 microphones. Spaced pair on the outsides – set about 3′-4′ above the choir – and an XY pair set lower in the middle of the choir to closer represent what I was hearing from the directors position – about 4′-5′ from the choir. This worked pretty well for us, the microphones sounded decent and we were able to get some decent volume – but not enough for me. The other major disadvantage was the obstructive large stands we had to use to achieve this setup.
So when researching new microphones I wanted something that was sleek and sexy but packed a big punch. I wanted something that was mobile and not permanent (i.e. no hanging mics – it had to be able to move to satisfy all the different setups we use). It also had to have a good gain before feedback but at the same time a natural sound (harder to find that combination than you may think). I came across about 3 different micing solutions that met my criteria – at least on paper. Earthworks, CAD, and Audix all produce similar products. Sadly, I was able to rule Earthworks out immediately – I just didn’t have the budget – but honestly think that they would have been the best choice if money was no object. Both basically use a sleek boom pole system with a mic attached at the end. I was first attracted to the CAD model because it had “on the fly” pattern selection. I ended up choosing the Audix, one because of past history with their equipment, and two because there are multiple microphones that work with this system. Ultimately it came down to that difference. They actual microphone for the Audix system appeared to be a higher quality microphone and Audix produces a number of other microphones you can upgrade to if ever needed. With the CAD system, yes I have pattern selection, but I am stuck with one microphone – that I don’t view as comparable with the Audix. I felt with the Audix system more money went toward the microphone and with the CAD system more money went toward the selection system. Also, more press has been given to the Audix system in major Church Tech and Worship Leader trade publication.
After receiving the Audix Microboom’s I quickly set them up and was in love with the look and mobility. I would quickly fall in love with the sound and performance as well. I am not going to sit here an quote you the technical specifications for these mics – you can easily find them online. I am going to review these mics from a worship leaders perspective rather than a tech head perspective. And plain and simple they work. They have received rave reviews from worship leaders, tech directors, and more – you can find them on their website. I am another one in a long line of worship leaders falling in love with these microphones. They simply work. With just two of these microphones I was able to get more volume than with four of the pencil condenser microphones (and i wasn’t fighting phase and cancellation issues with 4). With very little EQ I was able to achieve a very natural sound. Still think they slightly give you a slight tunnel sound you get from so many low quality hanging choir mics (but I think once again that most of it comes from our room). But anyone with any knowledge of a sound board and an ear, will be able to achieve wonderful choir reproduction from a sleek and sexy microphone package.
If you have the money and are looking for the same qualifications in a choir mic system, I would only assume the Earthworks system would produce incredible results (of course if you are willing to spend that much on choir mics you have a plethora of large diaphragm condensers and other high quality microphones to choose from). For the money the Audix Microboom system provides great natural sound, excellent gain before feedback, and a sleek and mobile package. In my 6 years at Grace Church, we have not had this much natural sound or volume from any other combination we have tried.
What do you use in your church? Have you used any of the other choir micing systems? What is your best choir micing solution? Tell me your opinions on the matter.
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so you’re mic’ing a choir of 50 w/ just a pair of these? I’ve gotta do something different in our setting for choir mics and I, like you, have had great experiences w/ audix in the past. I’ve had my eye in these for awhile. did you get the 50″ or 84″ booms? which mic? The cartoid or the hypercardoid? So you’re happy then? I may have to pull the trigger on these soon… thanks for the review, Nathan.
Pastorally speaking a choir of 50 (so from time to time we have 50 but normally closer to 40). We are currently using a cardioid spaced pair and then we have added another audix (not microboom) in the middle just to help fill in the sound a bit but majority of our output is from the other two mics. We went with the 84″ and i would recommend that size just cause it’s a further reach (if needed at any time) with a very slim profile. I don’t remember the exact mic off hand but if you look at bhphotovideo.com they have some “high output” models that you can’t return if purchased (basically the same price) and they are great as far as volume before feedback. I kinda wish, because of our stage setup, that we would have went with 3 – 4 hyper cardioids but really haven’t had much trouble with the 2 cardioids. I like audix, have never had an issue with their product, and feel that we get great results for the money we have spent on them. I’m sure there are better options but not convinced there is a better option for the price.
I use and have been happy with the Heil PR30 microphones in an XY configuration. I have since sold a pair of these to 2 other churches that have been very happy with them without feedback issues and very natural sound. For live use, I don’t really care for condenser microphones.
I’m not familiar with those mics, I will def have to check them out. thanks man
Thanks for your article. Though not in the music department, I’m looking into obtaining replacements for some Shures in mike stands in front of a 48-member choir. Choir is in a 24 1/2 foot wide dry-walled enclosure, about 14 feet front to back. Ceiling for “Loft” is angled up from its back wall(8 1/2 ‘) to 12 ‘ at front. Audix microbooms ( 84″) with cardoid capsules are being considered. Question is positioning of these mikes, given the cardioid pattern(sound stronger at center and dropoff at either side). How many microphones would be directly in front?
Enclosure for choir offers no space inside but possibly towards the front and side of the choir’s position. Distances involved have been a challenge, given our present system. I’m working with a company in Florida that specializes in big system installations but they don’t give feedback for our small needs.
As a resul, I’m researching where I can find some good information. My plan is to “gift” the microphones to our Music Director so I’m trying to get the right package and achieve a good choir sound. Thanks in advance for your response.
My first question before I am able to respond would be what type of stage noise are we looking at? Are you competing with drums, guitars and basically a lot of live sound? From the sounds of it you have a pretty nice choir shell built that will help project sound outward toward the congregation as well as the microphones. Audix recommends about 2 ft higher than your furthest back row of singers, about 2 – 3 feet back from the front row of singers. we have found that lowering them a bit and basically putting them closer to the hot zone of where sound is being aimed (which for most choirs is and should be toward the director) yields better results for us. that does sometimes involve a little “sound mixing” by placing certain singers closer or further from the microphone hot spots. That being said, yes you will have that inevitable with a cardioid or super-cardioid mic pattern. But having them that high up to basically function as an overhead mic can tend to create a more hollow less warm sound in my opinion. The best thing about those mics is that they are easily maneuverable to try out a number of different positions and placements. you may have great luck with the sound shell they are singing in front of but again the nice thing is that these mics lend themselves to experimenting with positions really easy. hope my ramblings help