Vocals, lead & backing - tight pattern control and tailored response enables vocals to cut through the mix.
The OM5 is made with an extremely tight and uniformly controlled hypercardioid polar pattern which isolates the vocals from the rest of the instruments on stage or in a studio.
Used on stage, in studios and for broadcast applications, the OM5 has a reputation for clarity, resistance to feedback and ability to handle SPLs in excess of 144 dB without distortion.
The OM5 is naturally attenuated at 120 Hz to reduce boominess and handling noise. The mid-range is tailored to provide extra presence in the vocals allowing the vocalist to be easily heard through the main speakers as well as the monitors.
||48Hz - 19kHz
||@1k 1.8 mV/Pa
Dave Rat demonstrates off axis rejection and sensitivity by comparing several mics.
Alanis Morissette on the Ellen Show May 20th 2008
Ken Tamplin Reviews The Audix OM5.
Hey guys, Ken Tamplin here. I was given the opportunity to sing into an Audix OM5 this past week to show what it is really made of. I have used the OM5 in countless live situations (as well as just about every other mic on the planet) so I am quite familiar with various microphones, and the OM5 consistently stands out from the pack. But instead of overwhelming you with a bunch of statistics about the OM5, I thought I’d let the mic do the talking itself! I took the OM5, plugged it directly into an Avalon 737 SP and then directly to the recorder. There are no effects whatsoever; you are hearing the pure sound of the microphone. I chose to audition the mic with just an acoustic guitar so there is no way to hide anything. It is what it is - a great microphone at a great price. Hear it for yourself:
I have a vocal academy where I give singing lessons. Many of my students are professional musicians. And though they have different styles and ranges, they agree that the OM5 is an excellent choice for their vocal needs. The key to how to sing with an OM5, is to sing DIRECTLY into the mic, it is very directional and has a tight pattern designed to “punch through” the PA of that big wall of sound any band can dish out. So if you’re looking for a great mic at a great price: the OM5 is an exceptional choice to have in your arsenal!
"With 3 stages running simultaneously 7 nights a week, it's common for us to have 15 or more separate acts in a single night. When the smoke clears, it's the OM-5 you see on the mic stands. The OM-5's indestructible casing is essential, given the unending wear and tear we put our gear through, and the wide dynamic range is perfect for the variety of vocalists we hand it to."
Bruce Duff, Production Manager, Knitting Factory Hollywood
"We were in rehearsals for the start of Bonnie's tour when the OM-5 was first introduced. We tried it and haven't looked back since. The mic is a lot likeBonnie - classy, consistent, and rock solid every time."
Paul Middleton, Front of House, Bonnie Raitt
"From side rejection to gain before feed back to overall transparency, the OM-5 is consistently a winner. If I mix the show, it's my first choice. If I'm the system engineer, it's my first recommendation."
George Rondinelli, Rondinelli Audio - Dubuque, IA
"The OM-5 is the only mic that you can roll the High Pass to 120, turn it on and let it rip. Rock solid and built like a hammer. Keep them coming!"
Eugene 'Gino' Mulcahy, Lead Audio Engineer, Mohegan Sun Casino
"I have carried OM-5's with me since 1995 as a great 'get out of jail free' card for almost any vocal application. They're handier than a Leatherman® and, oh yeah, they get LOUD!"
Adrian Cunningham, Front of House, Altan
"The warm low end, crisp highs, and clarity of the OM-5 complements any vocal blend. I'm pleased to see that they're showing up on lots of spec riders."
Rance Caldwell, Monitor Engineer, Crosby, Stills, and Nash
"I was able to simply unplug the front line of vocal mics and replace them with OM-5's to get a smoother, warmer sound at a higher gain with no feedback."
Mark Frink, Live Sound Editor, Mix Magazine
"Alanis really helped pave the way for a new generation of female vocalists, and her OM-5 has been there right from the beginning. If you love good sound, you'll love Audix mics."
Scott Welch, Manager, Alanis Morissette
"Audix mics are simply the best whether you're on a small stage or concert venue. I know that when I use my OM-5, the mix is going to sound perfect."
Jay Forrest, lead vocals, Hopesfall
"Even with BOC's thick instrumentation, OM-5's help keep the vocals in front of the mix. They're reliable, consistent and smoooooooth regardless ofwhat PA system we're using."
Steve "Woody" La Cerra, Front of House, Blue Öyster Cult
"In addition to being a terrific sounding vocal mic, the OM-5 has been my magic bullet when gain-before-feedback is an issue. It gives me a usable signal when other mics are unusable."
Dan Mortensen, Dansound, Seattle,WA
"I have been using the OM-5 for about 10 years and continue to receive lots of compliments on my vocal sound. They give me a true, uncolored sound to workwith as opposed to other mics that have a built in sound that sometimes works, but most of the time doesn't."
Paul Hager, Front of House, American Hi-Fi
"Our club has low ceilings and a loud band is even louder on our stage. The tight pick-up pattern of the OM-5 allows me to put the vocals out front in the mix without drawing in searing guitars and cymbal wash."
John P. Overstreet, Head Sound Engineer, Middle East Nightclub, Boston, MA
"OM5's are the main vocal mics of choice for us and we've used them for years with no problems!"
Bad Assets, Jacksonville, FL