Audix CX212

With a specified frequency response of 30Hz to 20kHz, the CX212 can be switched to cardioid, omnidirectional or figure-of-eight patterns, and a built-in a low frequency roll-off filter can be switched in to help reduce unwanted low-frequency pickup or vibrations below 300Hz. The shape of the response curve changes slightly as you switch patterns, but is nominally flat, with a modest presence bump at around 12kHz. Both switches are miniature toggle types and are located just below the basket. This mic is able to accommodate sound pressure levels of up to 132dB (measured at 0.5 percent THD with the pad switched in, and in addition to the obvious application as a studio vocal mic, it is also well suited to acoustic instrument recording applications, including acoustic guitars, drum overheads, and strings or choirs. Audix also recommend the mic for voice-over work, miking guitar cabinets, and recording tuned percussion such as bells, chimes, marimba and vibes.

If I were asked to sum up the performance of this mic as briefly as possible, I’d have to say something like ‘conventional but good’. It has no obvious tonal leanings, and it works well on most sources, including vocals, but it is difficult to describe in words what sets it apart from other mics of its type. There’s an inherent ‘rightness’ about the sound that makes the source feel properly focused, but with so many large-diaphragm condenser mics available in this low-to-mid price bracket, the differences can sometime feel rather subtle. Nevertheless, I think Audix have got pretty much everything right with the CX212, because it flatters vocals in a very understated way, and projects a very natural-sounding tonal balance. The high end is airy and smooth, courtesy of that gentle presence hump, and because the mic isn’t designed to sound obviously coloured, it works well on a range of acoustic instruments, including the inevitable acoustic guitar. I also checked it with an electric-guitar amp, where it worked fine, although by preference I’d use a mic with a more subdued high end (possibly a ribbon) in this application. There’s good consistency of sound between the various patterns, and the off-axis rejection in figure-of-eight mode is excellent (something that can be used to advantage in difficult spill situations).

Although the mic market is now extremely crowded, the Audix CX212 offers the benefits of Audix’s high build quality, as well as a high level of audio performance (not to mention a three-year warranty), so it really does have to be considered good value. You may wish to compare it with some other mics in the same price range to see what suits you best if it is for use with your own voice, but given that this is a multi-pattern model, it seems a good choice as a studio all-rounder, where it may have to deal with a wide range of instrument and voice types.  0