Dynamic Microphones

Microphones / Miking

Published July 2025

This trio of stage mics might look the same, but they’re each suited to different roles.

Audix have a long‑standing reputation for building good‑sounding, reliable mics both for live sound and studio applications. The new OMX‑T, OMX‑M and OMX‑E models are dynamic microphones, each designed to meet specific use cases, differing in their frequency responses and the precise shape of their polar patterns. The capsules employ Audix’s established VLM (Very Low Mass) diaphragm technology, which helps extend their high‑frequency reach.

Silver And Gold

Each OMX mic ships with a soft zip pouch, a mounting clip and a thread adaptor.All three mics have a comfortable profile, measuring 19.76 x 19.76 x 7.06cm, with a zinc alloy metal body that flares towards the flat‑topped basket, which can be unscrewed to access and clean the foam liner. As the physical outline of each mic is identical, a coloured identity ring is set into the body below the basket. The capsules are supported on fairly stiff, resilient mounts. A soft storage pouch, mic stand clip and a US‑UK thread adaptor come with each microphone.

Identified by a silver ring, the OMX‑T is a live‑oriented microphone that is voiced to suit vocals, but can also accommodate loud sound sources such as electric guitars, bass amplifiers and drums. Audix also suggest that it is appropriate for radio broadcasts. It has a tight supercardioid polar pattern designed to offer good resistance to feedback, while the basket design helps avoid problems when used by those vocalists who tend to cup the microphone. Sensitivity is quoted as 0.82mV RMS/Pa at 1kHz, with a frequency response of 52Hz to 17kHz (‑6dB) measured at 0.5m. The response curve shows familiar vocal mic voicing characteristics, with some low‑end roll‑off below 200Hz to compensate for the proximity effect combined with a lift above 2kHz to add presence. All three OMX models boast maximum SPL handling in excess of 144dB.

Billed as an all‑rounder mic, the OMX‑M exhibits a slightly more neutral frequency response than the OMX‑T, though it still incorporates a broad presence lift (this time centred at around 4kHz) combined with a slightly steeper LF roll‑off below 200Hz, giving it a somewhat leaner frequency response of 78Hz to 17kHz (‑6dB). It has a cardioid rather than supercardioid pickup pattern, and is suited to both vocals and instruments as well as podcasting. It is identified by a gold ring. Sensitivity is quoted as 2mV RMS/Pa at 1kHz.

The OMX‑E, which has a green identity ring, has been voiced to add emphasis to the midrange and ‘presence’ region, and to reduce low‑end boominess. Its LF roll‑off doesn’t start until around 100Hz, and the overall frequency response is quoted as 55Hz to 17kHz (‑6dB). Audix’s suggested uses include vocals for small and medium PA systems, as well as acoustic and electric guitars, brass, woodwinds and drums. This time, the sensitivity is specified as 1.6mV RMS/Pa at 1kHz.

The Audix OMX mics are outwardly identical, apart from a coloured identifying ring underneath the basket. The T, M and E models have a silver, gold and green band, respectively.

OMX... OMG?

Starting with the OMX‑T, I decided to make my first test a vocal recording, hand‑holding the mic to check out its handling noise. Handling noise was negligible and the resistance to popping was also good, other than a couple of careless plosives very close to the mic, and even those could be tamed with some low‑cut EQ. The recorded sound was very natural, offering just enough presence boost to cut through without sounding edgy. For rock music, this mic could even be a viable alternative to a more typical capacitor model in the studio.

The recorded sound was very natural, offering just enough presence boost to cut through without sounding edgy.

As a live mic, the polar pattern helps avoid spill and reduces the risk of feedback, as long as your monitors are positioned carefully. To test this, I tried recording a vocal while leaving the monitor speakers on rather than using headphones. Working facing the monitors, the amount of spill was low enough that the recordings were perfectly usable.

As an instrument mic, the OMX‑T takes guitar cabs in its stride and also acquitted itself well on percussion. While you can also make acceptable acoustic guitar recordings with the OMX‑T, I’d still opt for a well‑chosen capacitor mic in this role.

The OMX‑M has a similar character to the OMX‑T but with a standard cardioid polar pattern, a slightly more progressive low‑end roll‑off and a more subdued presence lift. It works well as a vocal mic for live use or for speech recording (for podcasts and audiobooks, for example), and it also makes a good general‑purpose studio mic. Once again, the handling noise is low and the rejection of spill is just what you’d expect from a well‑controlled cardioid pattern, insomuch as the mic is still fairly sensitive at the sides but very insensitive at the rear.

That leaves the OMX‑E, which again worked very well as a vocal mic, while its beefier low‑end response captured a little more heft from instruments such as drums, percussion and guitar amps. It too has some built‑in presence lift, but not enough to detract from the natural sound of the voice or instrument. If using it for vocals in the studio I’d recommend a pop screen, as the extended low end makes popping more likely on plosives, and for live use, a low‑cut filter on the desk might be needed to keep vocals sounding clean. However that extra low‑end weight works in its favour when dealing with guitar amplifiers and also makes the OMX‑E a highly capable snare and tom mic.

All three of these Audix dynamic mics can be used for vocal or instrument recording or live sound, but there are enough differences to give each model a specific focus.

Verdict

In summary, then, all three of these Audix dynamic mics can be used for vocal or instrument recording or live sound, but there are enough differences to give each model a specific focus. For live vocals I’d pick the OMX‑T for its tight polar pattern and resistance to popping, whereas for guitar amps and drums the OMX‑E is the more logical choice because of its more extended low end. The OMX‑M is a good mic to have around when you need something that can take on most jobs. Overall, a useful and robust trio.