Gemini II
Incredibly huge, detailed, and intimateThe Gemini II dual valve microphone is a no-holds-barred piece of microphone history. The dual valve design means pure valve warmth from the 12AX7 input valve, coupled with a 12AU7 valve on the output stage. The result is an incredibly large, detailed, and intimate sound – reminiscent of the classic valve microphones from decades ago, but with a thoroughly modern twist.
Gemini II
Incredibly huge, detailed, and intimateThe Gemini II dual valve microphone is a no-holds-barred piece of microphone history. The dual valve design means pure valve warmth from the 12AX7 input valve, coupled with a 12AU7 valve on the output stage. The result is an incredibly large, detailed, and intimate sound – reminiscent of the classic valve microphones from decades ago, but with a thoroughly modern twist.
Vocals, drum kit, OH, room, acoustic guitar, electric guitar cab, orchestral + strings, piano, woodwinds, brass
Inside the Gemini II
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DUAL VACUUM TUBE DESIGN
Most microphones use a transformer to optimize the mic’s output impedance and couple the mic to the mic preamplifier. With the Gemini II, this optimization is accomplished with a second vacuum tube, negating any high-frequency roll-off typically incurred with a transformer.
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1/4″ TRUE CONDENSER CAPSULE
The Gemini II has a 1/4″ capsule handcrafted and individually tuned in our factory. Thanks to a larger-than-life capsule, true condenser technology and ultra-precision parts, the Gemini II delivers a sparkling, pristine high-end typically only found in the most expensive solid-state microphones, while maintaining the rich, thick tonality of a tube mic.
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HAND-MADE ALL-METAL HOUSING WITH GOLD XLR CONNECTOR
The Gemini II’s hand-made all-metal housing, gold-plated XLR connector and gold-sputtered diaphragms ensure maximum reliability in any and all sonic settings from studio to stage for years of demanding use.
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SWITCHABLE BASS-CUT AND PAD
Not just for vocals, the 150 Hz bass-cut filter and -10dB pad make the Gemini useful for loud and heavy sources like drum room mics and booming timpani.
Inside the Gemini II Floor Box
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DISCRETE CLASS-A AMPLIFICATION
Delivers the sonic character and performance expected from sE’s legendary microphones with enormous headroom, ultra-wide bandwidth, and quality without compromise.
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TRANSPARENT AUDIO TRANSFORMER
Designed for rich, musical performance and superb isolation in any environment.
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SOLID FLIGHT CASE + WOODEN STORAGE BOX
The Gemini II comes packaged in a wooden presentation box next to its custom shockmount and robust power supply, all within a secure and solid flight case.
Specs
Downloads
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BILLY GIBBONS
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MEHRAD HIDDEN -
GEORGE BOKOS | GRINDHOUSE STUDIOS ATHENS
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DAVID CATCHING
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SHANGHAI SYMPHONY ORCHESTRA HALL
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PASTE STUDIOS
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BRAINPOWER -
RITUALS OF MINE
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CHRIS FOGEL
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JOHN BROWNE
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San Francisco Conservatory of Music
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DANI G.
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RYAN SHERIDAN
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PELLEK
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DREW SARICH
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JOHN RICHARDSON -
CALEB FISHER
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JIM ROACH
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BENNETT DEAN LEWIS -
PETER WERBA
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ADAM LEE
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THE WILDFIRES PROJEKT
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ALBERTO VAZ
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Harper
How should I store my microphone?
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.
What are the differences between your microphones’ polar patterns? How do I choose the most suitable type of polar pattern for my recording environment?
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.
My guitar amplifier / drum / horn is VERY loud, and I am concerned about the risk of damage due to loud noise.
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.
I have one of your tube microphones, and it comes with a separate box that I plug the mic into. Do I need a separate mic preamp for this setup, and do I need to turn on phantom power on the preamp?
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.
Which sE mic is best for recording vocals / drums / guitars / etc.?
Check out our Find Your Mic page to find the perfect mic for your application.
How do I clean the microphone from spillage and dirt?
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.