Gemini II

Incredibly huge, detailed, and intimate

The 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 intimate

The 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.

Recommended Use

Vocals, drum kit, OH, room, acoustic guitar, electric guitar cab, orchestral + strings, piano, woodwinds, brass

Highlights
Transformerless dual vacuum tube design
Classic tube sound meets modern precision
Hand-crafted 1/4” true condenser capsule individually tuned in our own factory
Hand-made metal housing and gold-sputtered diaphragms
150 Hz bass-cut filter and -10dB pad useful for loud and heavy sources















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

Components
Capsule Hand-crafted 1 1/4" True Condenser
Tube complement 1x 12AX7 / ECC83, 1x 12AU7 / ECC82
Diaphragm Gold-sputtered mylar
Power
Electrical impedance 200 Ohms
Recommended load impedance >1k Ohms
Connectivity 3-pin male XLR connector
Powering Provided by power supply unit (included)
Sound
Polar patterns Cardioid
Frequency range 20 Hz - 20 kHz
Sensitivity 40 mV / Pa (-28 dBV)
Max SPL 151 / 135 / 145 dB (0 / -10 dB pad) (0.5% THD @ 1kHz)
Equivalent noise level 13 dB
Dynamic range 122 / 132 dB (0 / 10 dB attenuation pad)
Signal to noise ratio 81 dB
Low-cut filter 150 Hz, 6 dB / Oct, switchable
Attenuation pad 10 dB, switchable
Dimensions
Mic Diameter 80 mm (3.15 in.)
Mic length 220 mm (8.66 in.)
Mic weight 1180 g (41.62 oz.)
Floor box dimensions 186 x 157 x 81 mm (7.32 x 6.18 x 3.19 in.)
Floor box weight 1970 g (69.49 oz.)
What's in the box
Gemini II microphone
custom shock-mount
8-pin cable
power supply
IEC power cable

Downloads

User Manual
  • "The mic is an absolute pleasure - easily competes with mics at twice the price point. Really warm and rich, yet plenty of high end sparkle."

    — Bennett Dean Lewis, Guitarist (Maren Morris, The Highwomen, of Montreal, Lera Lynn) - sE Artist
  • "Awesome mic. Killed my 251 on super-rich gospel vocals. I used the thing on several orchestral elements at Sony scoring and it was outstanding on everything."

    — Chris Fogel, Scoring Engineer (‘Black Panther’, 'The Wolf of Wall Street', 'The Secret Life of Walter Mitty', 'Old School')
  • "It's the best tympani mic I've ever used, and I typically use well-maintained 47s or 49s. Really great."

    — Chris Fogel, Scoring Engineer (‘Black Panther’, 'The Wolf of Wall Street', 'The Secret Life of Walter Mitty', 'Old School')
  • "The sE Gemini II is both the beauty and the beast. It demands attention, both visually in the studio, and aurally in the mix. With its clarity and detail, it's an easy go-to choice for vocals and much more."

    — Bob Mallory, Chief Engineer at Paste Magazine Studios NYC - sE Artist
  • "The transformerless design would appear to combine the most recognizable attributes of tube and solid-state microphones."

    — Paul White, Sound On Sound
  • "The Gemini II provides the expected tube warmth and low-end weight but without losing the high-end sizzle, as can happen with 'tube plus transformer' designs."

    — Paul White, Sound On Sound
  • "Because of its high-end clarity, the Gemini II also makes a useful instrument microphone, its capabilities extending from acoustic guitars and other plucked instruments to percussion and wind."

    — Paul White, Sound On Sound
  • "I am incredibly impressed by the seemingly contradictory combination of warmth, crispness and definition that was captured in the tracks by the sE Gemini and Reflexion Filter Pro."

    — Don Was, Producer/Engineer (Bob Dylan, Bonnie Raitt, The Rolling Stones, Willie Nelson)
  • "The songs we were working on had dense arrangements yet the sax cut through without ever sounding abrasive or disconnected from the rest of the track."

    — Don Was, Producer/Engineer (Bob Dylan, Bonnie Raitt, The Rolling Stones, Willie Nelson)
  • "The Gemini II has a beautiful, natural sound -­ we didn't even use any EQ."

    — Don Was, Producer/Engineer (Bob Dylan, Bonnie Raitt, The Rolling Stones, Willie Nelson)
  • "The Gemini has a unique sound with great character. One thing that was instantly noticeable about it was its upper mid to high frequency boost."

    — Matt McGlynn, Recording Hacks
  • "After hearing some voiceover using the Gemini II, the warmth in the bottom was also quite apparent."

    — Matt McGlynn, Recording Hacks
  • "Overall everyone during the tests were very pleased with this mic and a few people were surprised that it didn’t cost more money. The mic has a quite a presence. It’s built like a tank."

    — Matt McGlynn, Recording Hacks
sE artists

From mainstage headliners to the biggest names in engineering, our artists rely on sE  to bring their sound to life

Q&A

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.