Audix ADX 51

An Audix "pencil condenser" designed for instruments, from stage to studio

Designed as a compact pre-polarized condenser microphone, the ADX 51 fits within Audix's approach: offering robust microphones that are easy to position and versatile enough to cover multiple contexts (live, recording, broadcast). Its uniformly controlled cardioid pattern and extended frequency response (40 Hz to 18 kHz) make it a consistent choice when looking for a mic capable of remaining clear in a mix, even in noisy environments. Without multiplying complex settings, it relies on features directly useful in the field: attenuator and low-cut filter, two essentials for securing a quick and clean recording.

For whom and for what uses?

The Audix ADX 51 is aimed at musicians, sound engineers, and content creators who want a reliable instrument microphone capable of working both in close miking (for more attack and isolation) and distant miking (for more air and image). It is particularly comfortable on acoustic instruments: acoustic guitar, mandolin, violin and viola, percussion, piano, as well as as an overhead mic to capture a drum kit or percussion section with definition. In broadcast and video capture, its clear signature facilitates intelligibility and presence, while remaining controllable thanks to the low-cut filter and pad.

Key features: control, precision, and level handling

Cardioid directivity: easier isolation and placement

The ADX 51's cardioid pattern is designed to focus capture on the instrument and reduce off-axis sources. On stage, this helps limit bleed from monitors, neighboring amps, or other instruments. In the studio, it allows easier shaping of the balance between direct sound and room ambiance by simply adjusting distance and placement angle.

-10 dB pad: more headroom on loud sources

When the instrument or source produces high sound pressure levels, the -10 dB attenuator provides extra headroom before saturation of the input stages (preamps, audio interface, console). This is a concrete advantage for percussion, certain highly projecting instruments, or close placements where a more "present" and punchy sound is desired.

150 Hz low-cut filter: cleaner low end

The 150 Hz low-cut filter helps reduce rumble, stage vibrations, handling noise, and proximity effect excess. The result: a cleaner low-frequency spectrum that is easier to integrate into a mix, especially on acoustic guitar, overheads, and instruments where clarity is preserved without unnecessarily boosting low-mids.

Capsule and diaphragm: precision and consistency

With its Black Electret GV Diaphragm capsule and a 14 mm gold vapor diaphragm, the ADX 51 aims for precise capture, with good definition of attacks and an articulate rendering. Its specified frequency response of 40 Hz to 18 kHz covers the essential spectrum of acoustic instruments while maintaining clear detail reproduction (string brightness, transient articulation, presence).

Build quality: a microphone built to last

The precisely machined brass body, steel mesh grille, and durable black finish reflect a clearly professional orientation. The gold-plated XLR connector contributes to a reliable connection over time, an important point when the microphone is regularly mounted, dismounted, and transported. To complete the package, a protective pouch, clip, and windscreen are included to be ready for use immediately in both live and studio settings.

Technical specifications

Frequency response - start	40 Hz	Directivity	cardioid
Frequency response - end	18 kHz	Connection	XLR
Category	instrument microphone	Color	Black

Type	Condenser	Impedance	100 Ohms
Capsule	Black Electret GV Diaphragm	Connector	Gold-plated XLR
Diaphragm	14 mm (gold vapor)	Body	precision-machined brass
Frequency response	40 Hz - 18 kHz	Finish	durable black
Sensitivity	17 mV/Pa at 1 kHz	Grille	steel mesh
Rejection	greater than 15 dB	Dimensions	19 x 160 mm
Max SPL	132 dB	Weight	184 g
Pad	-10 dB	Ideal for	Overhead
Low-cut filter	150 Hz	Included	protective pouch, clip, windscreen