You’ll need some sort of audio interface to do this – essentially, a box that converts an analog signal into a digital one, and sends the digital signal to your computer software in a way that your computer can understand. Some audio interfaces also include microphone preamplifiers, which raise the signal level from “mic level” to “line level” – if you are using an interface with no built-in preamp, you’ll need to plug the mic into a separate mic preamp first.
Many sE microphones come with their own shockmount, with a few exceptions. If you have an X1 Series mic (X1 S, X1 T, X1 USB, X1 R) or Magneto microphone, the Isolation Pack will work perfectly for you. If you need a replacement shockmount for any of our other microphones, please fill out our Support Request form.
All of our passive ribbon mics are phantom-protected, so they will not be damaged by phantom power. With that said, we don’t recommend using phantom power unless necessary – but your mic will be fine either way, not to worry.
You do need a mic preamp or audio interface, as the power supply box only outputs mic-level signal (not line-level). However, you do not need to turn on the phantom power on your mic preamp or interface, as power is provided by the mic’s power supply itself.
For the most part, sE mics can tolerate extremely high SPLs (typically over 135dB) and will be fine in front of even the loudest sources – yes, even our ribbon mics. If in doubt, you can check the specifications on the individual product page.
There are no real “right” or “wrong” answers to this question, as different patterns will just provide different types of sounds, and whatever best suits your particular song is usually the right answer! With that said:
Cardioid – Generally best for recording vocals or other single sources, when you don’t want to hear much of the room sound around the source.
Omni – This is good when you want a less focused, more “roomy” sound. Think distant drum mics in a great-sounding room.
Figure-8 – Since this pattern lets the mic “hear” on both sides – front and back – and reject the sounds on either side, it’s handy if you want to record two sources at once from a point in between them, without hearing what’s off to the sides.
Hypercardioid / Supercardioid – More directional than Cardioid, this is good for spot mics, when you want the sound to be very focused.
We generally recommend keeping your microphone in its case or original packaging when it is not in use for more than a few hours. If your studio is very clean and safe, it could be OK to leave out on its mic stand when not in use, but if a mic is out of its case it could potentially be exposed to dust, smoke, moisture, or humidity – which can damage the sensitive parts of the mic – so we recommend avoiding those things at all cost.
If your microphone has come in contact with dirt or another removable substance, we recommend cleaning it with a very soft, slightly damp cotton cloth. Do not open the microphone up to clean the inside, and make sure you NEVER touch the capsule itself. Cleaning a capsule should only be done by highly trained professionals in a “clean room” environment. If you suspect your capsule needs to be cleaned, please contact [email protected] so we can recommend an authorized local technician.
All of our latest microphones (2017 onwards) have individual manuals, which can be located on their respective product pages. Please note that older sE microphones may not have documentation for individual microphones – however, we do have a “generic” sE Electronics microphone manual which covers features common to many of our older mics.
This could be a number of things – a damaged or dirty capsule, a tube that has decided to go bad (it happens, even to the best of them), a leaky capacitor, a missing electrical ground connection…though we do our very best to ensure these things do not happen (high-quality components, strict testing and quality control, etc) sometimes they are unfortunately unavoidable. Please fill out our Support Request form and describe the issue as best you can, and someone will be in touch to help.
a) If your microphone requires phantom power (condenser microphone, active ribbon microphone, etc.) check to make sure phantom power is turned on. Without phantom power, you mic may still pass signal, but it will be extremely low in level and highly distorted. If in doubt as to whether or not your microphone requires phantom power, you can still try this – all sE Electronics microphones are phantom-protected even if they do not require the voltage, so nothing will be damaged. b) If option A does not solve your problem, please fill out our Support Request form.
For current production models, please refer to the individual product pages on our website. A detailed overview and specification chart is listed for each microphone. If you require additional information, please contact [email protected] and we will do our best to assist you.
Each of our Reflexion Filters was designed to fit a particular budget and need:
The RF SPACE is our best-performing Reflexion Filter, because it has the most efficient multi-layer design that provides the flattest possible frequency response as it filters out room reflections. Plus, it’s the largest of our RFs, so it tends to be the most effective.
The Reflexion Filter Pro is still our original multi-layer design from 2006, and works GREAT for vocals – and instruments too – if you can’t quite afford the SPACE. It’s been the industry standard for over ten years now.
If you’re on a budget and you’re only recording vocals, the RF-X is a very good choice. Its mounting hardware doesn’t have quite the range of motion that the RF Pro or RF SPACE have, so it’s not ideal for instruments or anything else that would require an angled mount, but if vocals are all you’re doing, it’s a very solid choice.
The guitaRF® was designed for use on guitar/bass/keys amplifier cabinets (live and in the studio), but since it can mount on any mic stand, it’s useful whenever you want to double-mic a source and provide some isolation from the room around it.
Video setup guides are located on the individual product pages for the RF-X, Reflexion Filter Pro, and RF Space, and all RF products (including the guitaRF have downloadable PDF setup guides as well. If you require further assistance with setting up your Reflexion Filter, please fill out our Support Request form and we will help you as best we can.
All of our Reflexion Filters are designed to work best with conventional (vertical) microphone stands. It is entirely possible to utilize them on a very sturdy boom stand, but great care must be taken to ensure proper balance and counterweighting, as the weight of the filter plus a microphone (especially an expensive microphone!) can be quite heavy. If a boom stand mount is necessary, we recommend securely attaching the filter to the boom arm first, making sure the whole assembly is extremely solidly positioned, and then attaching the microphone afterwards. We can assume no responsibility for damaged microphones if the boom arm decides to tilt down or around due to the extra weight put upon it, so please be careful!
When setting up your Reflexion Filter, the most important thing is to maintain the center of gravity. This means adjusting the position of the filter appropriately so that the combined weight of the filter and microphone is centered directly above the mic stand, not off to one side. Also check to make sure that all screws are tightened sufficiently to prevent slipping or movement of any parts.
The DM1 is intended for use only with passive microphones – i.e. microphones that do not require phantom power for operation, like passive dynamic and passive ribbon microphones. It will not work with condenser microphones or active ribbon mics.
Please ensure the DM1 is connected securely between your microphone and your mic preamp, and make sure that +48V phantom power is turned ON on your mic preamp. If you are still experiencing problems, please contact your local dealer, or fill out our Support Request form and we’ll help!
We do not recommend this. Nearly all modern mixers and audio interfaces are built to provide 48V of Phantom power, so we have not specifically tested the DM2 for lesser voltages, and cannot guarantee its performance.
The DM2 TNT works with passive microphones (i.e. most dynamic microphones and passive ribbon microphones). It does not work with microphones that also require Phantom power (i.e. most condenser microphones or active ribbon microphones.)
The DM2 TNT has eight settings ranging from unconventionally low 50 Ω, to stunningly high 10 MΩ. It allows you to easily alter the sound character, finding your preferred sweet spot. Higher settings generally result in a more open, cleaner, powerful sound and higher output. Some mics are more sensitive to load settings than others. Vintage microphones will usually have a more perceptible reaction than modern mics.
The middle switch controls the integrated DYNAMITE preamp. When the switch is in the “I” position, the DynaCaster provides 30 dB of additional gain, ideal for speech and softer sources. This requires +48V Phantom power.
In the “O” position, the DynaCaster functions as a completely passive microphone, not requiring any external or Phantom power.
The sE8 Omni capsule(P) is a set of additional capsules for users who already own a pair of cardioid sE8 small-diaphragm condensers. This set does not include the amplifier base of the sE8 microphones.
If you don’t already own a set of sE8 cardioid small-diaphragm condensers, you’ll want to purchase the sE8 Omni(P). This is the full product, with no additional pieces required for use.
The sE Munro Egg 150 speakers were produced from 2011-2015. Though sE decided to focus on building microphones (and related products), the Egg speakers are still manufactured, sold, and supported by Munro Sonic in the UK. Whether your Eggs were built by sE (before 2015) or by Munro Sonic (after 2015), all support questions may be directed to Munro Sonic: http://www.munrosonic.com/
All of our latest microphones (2017 onwards) have individual manuals, which can be located on their respective product pages. Please note that older sE microphones may not have documentation for individual microphones – however, we do have a “generic” sE Electronics Microphone Manual which covers features common to many of our older mics.
Of course! Just fill out our Support Request form, and your nearest authorized sE distributor service center will be in touch with you as soon as possible. If your microphone is brand new and does not function properly, please contact the local dealer from whom you purchased it and let them know first, and then fill out our Support Request form on our site.
If you would please fill out our Support Request form, we will be able to recommend an authorized sE service center near you. However, you may be responsible for covering all or some of the repair costs if your products’ warranty has expired.
As specified in our Official Warranty page, we do not recommend repairing your own gear, and doing so with sE products will invalidate your warranty. However, if there is a very specific reason why you should be fixing your own gear (e.g. you are employed as a technician in a professional recording studio), please fill out our Support Request form and we will assist in getting you schematics after signing our repair agreement.
Generally, our warranty policy is strict in its guidelines. However, we are more than willing to take further time to make a second judgement on special cases. Please contact [email protected] and provide whatever information you feel is necessary. We will do our best to help you out.
Your warranty covers equipment repair and replacement of spare parts as is outlined in our official warranty document. We give out a standard 2-year warranty for any purchased product, plus an additional year if you register your microphone with us.
If you fill out our Support Request form, we will be able to recommend an authorized sE service center near you. However, you may be responsible for covering all or some of the repair costs if your product’s warranty has expired.