Audix Fireball Instrument Dynamic Microphone

 
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Audix Fireball Instrument Dynamic Microphone

SKU Fireball
Weight 2.00 lbs
$149.00
Quantity

This is for 1-New Audix FireBall dynamic microphone.  The FireBall is a professional dynamic microphone specially designed for harmonica. It is well suited for both diatonic and chromatic instruments. Characterized with a cardioid pick-up pattern and a smooth, uniform frequency response of 50–15k, the FireBall will handle both live sound and studio applications. The microphone is clear, accurate, and capable of handling sound pressure levels in excess of 140 dB without distortion. In addition to harmonica, the FireBall can also be utilized for saxophone, brass, flute, and vocals. Transformerless design, low impedance, and balanced output allow interference-free performance, even with long cable runs.  The FireBall consists of a durable steel mesh grill with a CNC machined aluminum body that is coated with a three-stage anodizing process.

 

 

The following is a description and specs from Audix:

 

Features: 

 

·         Dynamic moving coil transducer

·         VLM (very low mass) Type B capsule

·         Cardioid pickup pattern

·         Sensitivity: 1.9mV/Pascal @ 1k

·         50Hz-16kHz frequency range

·         150 ohms balanced impedance

·         Maximum SPL: >140 dB

·         Off-axis rejection: >23 dB

·         Aluminum housing

·         Anodized finish

·         Weight:  4-1/2 oz (127.5 grams)

·         Length:  3"L (76 mm)

 

 

Operation and Maintenance

Although the FireBall™ is designed and built to handle the rigors of live performances and touring, it should still be handled with care. Avoid extreme moisture and extreme temperatures whenever possible and store the microphone in the provided carrying pouch whenever it is not in use.

 

Phantom power

The FireBall™ is a dynamic microphone and does not require phantom power; be assured that phantom power will not adversely affect the performance of the FireBall™ in any way.

 

Recording

The FireBall™, which has a very sophisticated, high quality transducer element, is an excellent microphone for studio application. The tight cardioid pick-up pattern of the FireBall™, along with its ability to handle very high sound pressure levels, allows the microphone to be used for “close miking” applications to record a wide variety of instruments. In this respect, studio miking techniques for the FireBall™ would be similar to those used for live sound.

 

Live Sound

The FireBall™ is a professional low impedance microphone. Therefore, you will achieve the best results if you use either mic level input on the PA system, or if you run directly into the low impedance input of an effects processor. If you are running directly into a guitar amp, you will need to use a low-to-high impedance matching transformer. When using this type of impedance matching device, there is typically some loss of signal and frequency response.

 

Harmonica: The FireBall™ is designed so that the ball grill of the mic and the harmonica can be held in one hand. This leaves the other free for cupping, and for controlling the sound effects. It is important to note that the FireBall™ is much more articulate than the typical harmonica mic you may have played. It is designed to reproduce your notes accurately and clearly. It is recommended that you use an effects processor to achieve EQ changes, distortion, or a variety of tones other than the original.

 

Toms, congas: Place the mic 2” above the head and pointing towards the center of the drum. For brighter tones angle the mic more towards the outer edges of the drum.

 

Saxophone, trumpet, and brass instruments: Typically, the microphone should be aimed right into the bell of the instrument. The mic can be anywhere from zero to six inches from the instrument, depending on how many other instruments are on stage, and the loudness of the music.

 

Vocals: The FireBall™ provides an excellent vocal sound. Because it handles high sound pressure levels and explosive sounds at a close distance, it is excellent for beatbox, hip-hop, and rap.

 

Mic placement: In general, allow a minimum distance of 2-3 feet between microphones to avoid phase problems.

 

 

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