All user reviews for the Audix OM7

The OM7 comes with a carrying pouch and a clip, it is well built and has a good finish to it that will make it hard to scratch or scuff. The Audix OM7 is a great live microphone, it is very natural and warm sounding while keeping the external noise at bay. The OM7 was made to be more for a singer, but it can be used for a DJ as well. You can turn this baby up to the max and don’t have to worry about any feedback, which is crucial in a live setting where there are so many other things going on. I have owned this microphone for about two years now and it has been a gem to me. I have used it on tons of different occasions and in different settings and it sounds amazing with no feedback! This microphone has become the main microphone that I recommend to vocal list now and with groups that I DJ for now use the OM7. The Audix OM7 is by far the best vocal microphone for this price range that you will find.


OVERALL OPINION

You can not go wrong with the Audix OM7 vocal microphone. If you are in a live setting and want a microphone that you can crank up and keep feedback out of the picture then this one is for you. Or even if you are a strong voiced person and have a softer voice or make a different type of music. It will still bring your vocals through crystal clear and warm. I am very happy that I have purchased this microphone a while back and I will continue to use it as one of my main microphones. I will be purchasing another one of these in the near future.

The Audix OM7 is a dynamic microphone built by Audix designed for live vocal use. Audix has an endless list of features for this microphone. It is a hand held dynamic microphone with a hypercardioid patter, which means it has absolutely fantastic off axis rejection. The OM7 in particular, even for a hypercardioid has especially fantastic rejection. It can handle sound pressure levels of up to 144 dB's, and has a proprietary anti-feedback design. The microphone itself is cased inside a very durable and weighty body that tapers beautifully and is a joy to hold. The OM7 also has, like many of Audix's dynamic microphone, a very low mass diaphragm, in the interest of improving its transient response. It is also a quite low output microphone, so it is very good at dealing with live situations and instrument isolation. Granted, that is not something that is directly correlated, but the engineering in the diaphragm makes it so. The OM7 has a rather peculiar frequency response from 48 Hz to 19,000 Hz.

OVERALL OPINION

What is especially impressive about the Audix OM7 is how clean the vocal signal is. Many microphones try to taper their responses to certain areas of the frequency spectrum to accentuate certain parts of the voice. It is not that the Audix OM7 is a completely flat microphone, but it is certainly less muddied than other microphones in certain ranges. It also is not a dead microphone; it actually sounds very sweet, and the subtle enhancements in this microphone seem to come in areas that people cannot quantify, or do not quantify. This is something that always happens in microphones, but the OM7 is something that one just has to hear to understand. It is also something that must be used live to understand. A audio clip is not sufficient for this microphone's appeal.

It is a hypercardioid dynamic microphone singing. Like all microphones Audix OM SERIES of the OM7 benefitted with a capacity of Resistors in feedback that is unusual. These microphones pick actually extremely low noise. The distance of singing is lgrement Reduces and closer to the grid. Sing more prs did not pos problem of individuals as these microphones provide a proximity effect that is much more comfortable than any I could try. The OM7 is excellently well equilibrated in the reproduction of frequencies and provides improved quality of rponse in the treble. This micro rsiste particulirement well to perform under pressure: it is impossible to do saturate while the sound reproduced fully respects the dynamics of the song. In the doc of Audix APRS is a system that internal attnuation output that allows to observe the dynamics of the sound source. I found that micro effectivment is more expensive 10dB prampli on the mixer for volume OM6 the itch (which is the micro range just below).
So it's a microphone scne trs high-end (about 350) which is strangely little known in Europe as it is commonly used in the United States.

OVERALL OPINION

We had a serious problem of feedback in our studio because of rptition lead vocal microphone (Shure eta58 a) that hung all over the place. A fairly drastic attnuation the mixing desk (Soundcraft 200B Series) combines the use of an EQ band delays the phnomne but at the cost of a standard of dgradation quality sound.
APRs have considered several solutions (including the purchase of a feedback-killer), I finally had the chance to try Audix I was reading the benefit Forums amricains.
What a slap!
To hang the OM7 had to change the calibration pramp / attnuateurs / amp because of the Soundcraft pramp have saturated before the arrival of feedback (those who know the power of pr the 200B amp should sries apprcier !!!). It was able to get the power amp to + 6 dB. So I n'exagre really not saying we won at least 50% of volume in any further attachment beginners. And again, the Audix Ragit trs diffrent: instead of leaving immediately dvastatrice in a loop, then hook the OM7 "relche" loop almost aussitt! It is thundering: believing that there's an indoor device that attnue - APRS blow - the frquence who wanted to go live! It is really prvenu before this can screw up too dgnrer and finally the ears of all the musicians for the rest of the rptition.
So there is no picture: the Difference of sensitivity to feedback is objectively standard! The OM7 REALLY can reach noise levels that are not even conceivable with the Shure.

The OM7 also has the capacity to return any outstanding fact: the effect of proximity is flexible and trs trs musical attacks do not explode, the dynamic is perfect (it seems that almost If there is a compressor Intgr!) and treble are both sweet trspres and trs.
On my voice, a correction trslgre enough to get an equilibrated in all its frquences: trs can effectively shape the texture of the voice by working mediums. The high frquences do not need to be micro managed this as attnues reproduced without agressivit. Ditto for the severe, and can benefit low without fear explode or "butcher" the sound. The thing that m'pate is that it keeps a superb quality of bass and treble even when his mouth is stuck in the grid. Parts of songs that are softer, more learned, are extremely well reproduced: Dfine it is musical, it's hot, it's clear ... a rgal! In short, there are times I almost o the feeling of singing in a good studio electret.

Objectively, I do not see what I could repprocher the microphone. With OM7 I even relearned sing in a sound system and I couraging I had a lot more potential than voice made me and the Shure Senheizer that I know. Obviously, this does not mean that others are bad microphone away from l. But the OM7 Discoveries made me realize that a microphone is a musical instrument Entire hand: you really find the one best suited to CHARACTERISTICS of his voice and take account other paramtres sound.

I do not regret having blown my budget "micro chant". It is even one of the best musical investment I made hardware: any other acquisition of instrument as I made progress and above all ... to find fun.

Dynamic
No switch
HYPERcardiode
Low output

OVERALL OPINION

I've had a few months, I had the opportunity to make some rpeter with a concert and Save a few things to see what it is ...

Three striking characters:
Low-level output is a default for me was becaufe makes me push my max pramp that makes me well: I dgueulasse sound. I am a stage o I have to play other pramp to have a good sound ... But it is an advantage in noisy environment (typically poorly scne RULES, RPET with deaf musicians) because he cash out the high levels trs.
Trs-high directivity is an advantage because then there gure that the voice that goes, so no feedback (well, much much less) tracks trs own voice even live. a can be a disadvantage: unconsciously I close my eyes when I Braille, and I m'loigne some of the micro ... or it will not pick up virtually nothing outside of a small virtual bouboule 5-10 cm in front of the mic, so often lost phrases entires of my song ...
-Its a little port on medium-high medium, rather on the low mids -> it does not sound at all like a sm58. a can be an advantage for those who like me have a voice a bit "thin" or lgre. This also comes from the fact that as we should stick the lvre the microphone, it captures well the bass. This cash trs trs well plosives. But the sound is sweet and clean: it can safely undergo a small EQ ...

For résumé, the main advantage is that the directivity trs Troit can raise the sound without much feedback, so use a good big comp so we finally hear the passages clear and dlicats ...

I bought used on ebay because it's quite expensive in Europe (+ or - 300) and I do it again this election!

Edit of 12/02/2008: it is always my microphone prfr. Without question, I bought a lot more (Neumann KMS 105), may well be the + end, infinitely far rsiste feedback and so he remains in the closet (it's sad, I know) .

see previous review

OVERALL OPINION

1 mois.Je have compared to: SM 58, BETA 58A, OM3, TG88, E865, E835, RODE NT1 (all microphones are in perfect working condition ) in passing through a MOTU MK1, MK1 and a ENVOICE SOLO 610.Sa sound color is close to the Neumann KMS 105, which is a static. He did not "projecting" the SM58, because it seems to compress the voice and return the stamps with neutrality (the highs are sweet and serious not accented). In previous opinions, it is often considered better than the SM58, as a singer, I prefer to style "intimate" or grades must be heard (in a noisy environment) not for the Blues or the sound "dirty", "thick" and "potato" of the SM58 seems to me more adapté.Par analogy would be the SM58 and OM7 GIBSON, TELECASTER.L a 'OM7 is more than SM58 microphone, but its "transparency" is remarkable.

I pass, said ...

OVERALL OPINION

I have not much experience of the stage microphones to really compare, but:

- Much better than an SM58, obviously, and its kind of bump in the midrange cartoner
- I acquired a Beyer TGX 60 but if he had a warm and silky sound it made too deaf to my voice, difficult to break through the mix

The sound here is precise and can cut through the mix quite easily. Very good intelligibility. on the other hand it requires a good investment and does not tolerate too much change from this point of view! He collects fine mouths ...

Attention he needs a good preamp in the ass! I have an LA-610 (75db gain) and I shoot a lot! The 610 magnifies this kind of dynamics of a very nice way! I also have an SPL Gain Station with Lundahl transformer (93 db gain!) And there is quiet! If you have a Blue Tube will be too low for this microphone, in my opinion!

A default for me: the grip is not terrible! the body diameter is too small, and expanding the latter to the head is too progressive so it tends to slide if you have sweaty palms!

(Originally written by lechauve/translated from Audiofanzine FR)
I have only used it for vocals so I don't know how it performs with other sources.

Made in the 90's, this dynamic mic with hypercardioid pattern and pad requires a mixing desk with good quality preamps.

OVERALL OPINION

I've been using it weekly since last summer. I have four mics for the vocals (8 singers). It's a delight to my ears.

FYI we are a parody rock band with a big chorus, two to four guitars, bass, brass, and percussions that generate plenty of SPL throughout the whole frequency spectrum.

And sometimes we even have to be able to make a pennywhistle audible...

Pros: read the excellent and comprehensive previous reviews.

Cons : Not found yet...

Dynamic mics which I've used over the last 20 years: really bad things (SHURE UNISPHERE, PHONIC, FOSTEX, ...) and SHURE SM58 (HS), BETA 58 (HS), SHURE 55SH, BEYER M88N (HS), AKG 330BT, SENN BF5xx/E840/E845, AKG D880, etc.

Dynamic mics which I currently use: AUDIX OM7, EV N/S767 and AKG 330BT.

Dynamic mics that stay in their cases: SENN 845/840, AKG D880, SHURE SM58.

Dynamic mics which I tested and gave away to karaoke fans: AKG D750, AUDIX F50.

Value for money? Two OM7 cost approximately the same as three SM58...

Four OM7 are enough for me and this purchase is one of the best technical choices I've made in my whole amateur musician life.