The world's smallest production gold-sputtered diaphragm (15mm)
Adept at picking up the most delicate of high-frequency content
Full-scale transformer custom-designed by Rupert Neve
Astonishing clarity across ALL frequencies - not just the highs
Balance and headroom never before achieved with a small-capsule microphone
Compatible with sE's RN17 omnidirectional capsule
Inside the RN17
With a 15mm diaphragm (the world’s smallest production gold-sputtered diaphragm), the transient response of the RN17 is unparalleled. Such a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content.
THE MASSIVE TRANSFORMER
Made obvious by the unusual chassis shape, the RN17’s transformer is substantially larger than the norm. This full-scale transformer was custom-designed by Rupert Neve specifically for this microphone – and nobody has been designing audio transformers longer (or better) than Rupert Neve.
BALANCED CLEAR SOUND
With an audio transformer of this magnitude, the RN17 is able to put out astonishing clarity across ALL frequencies – not just the highs. The midrange is detailed and forward, the lows are full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-capsule microphone.
MATTE BLACK FINISH
The matte black finish minimizes the level of visual attention drawn to the microphone when used on stage or in the studio, allowing it to blend into the background.
Every RN17 includes a custom-designed, sturdy, protective, and easy-to-use shockmount, which is essential to reducing the unwanted effects of vibration or knocks to the supporting microphone stand.
The RN17 ships standard with a cardioid capsule, but an omnidirectional capsule is also available for purchase separately.
RN17 Matched Stereo Pair
RN17 FACTORY-MATCHED STEREO PAIR
When purchased as a pair, the transformers and cardioid capsules are factory-matched for perfect tolerance, guaranteeing the best possible stereo image.
WHAT COMES WITH THE MATCHED PAIR?
This configuration also includes a precision stereo mounting bar, two shock mounts, a wooden presentation case, and empty canisters for future capsule additions. The whole setup comes packaged inside a secure flight case.
CapsuleHand-crafted 2/3" True Condenser
Electrical impedance200 Ohms
Connectivity3-pin male XLR connector
Powering48V Phantom Power (P48 according to IEC 61938)
Polar patternsCardioid (Omnidirectional capsule available separately)
Frequency range20 Hz - 20 kHz
Sensitivity6 mV / Pa (-44.5 dBV)
Sensitivity (Figure-8)2.5 mV / Pa (-52 dBV)
Max SPL131 dB (0.5% THD @ 1kHz)
Equivalent noise level18 dB (Cardioid), 15 dB (Omni)
"They’ve got a really elegant, smooth brightness to them. Not overly so...crystal clarity, but they’ve also got this forgiving warmth too."
— Simon Rhodes, Recordist / Mixer (Spectre, Skyfall, Grand Budapest Hotel) - sE Artist
"Using the RN17 on acoustic guitars again today - what a revelation. Makes me want to go back & re-record every acoustic guitar I've recorded since 1988."
— Brad Wood, Producer / Engineer (Pete Yorn, Liz Phair, Smashing Pumpkins) - sE Artist
"The RN17 has become my desert island microphone. If there was one microphone I knew I could take with me that would get me out of trouble, it’s this...The clarity and the detail I get is wonderful, especially for one of the things I do a lot of, which is sampling - this is a perfect sampling microphone, because it has that reality that you need, with low noise, but it also has just a little bit of extra something."
— Simon Franglen, GRAMMY® winning Composer / Producer ('Avatar', 'Titanic', 'Skyfall') - sE Artist
"The RN17 is my new favorite small diaphragm condenser mic. It's incredibly detailed in the higher frequencies and has a weight in the lower mids that was traditionally compromised in pencil mics. I love it on acoustic guitar, piano, strings, percussion, and as a room mic on any source. It was a go-to mic this year for sessions with Metric & The Kills."
— John O'Mahony, Mixer / Producer (Vance Joy, Sarah Bareilles, Coldplay, Metric) - sE Artist
"As a drummer & recording engineer I was looking for overhead mics that could handle both the fast transients and the low end of a drumset. I found them in the sE Electronics RN17 stereo pair. Excellent mics!"
— Ron van Stratum, Drummer & Educator (Maastricht Conservatory, Netherlands)
From mainstage headliners to the biggest names in engineering, our artists rely on sE to bring their sound to life
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.
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.
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.
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.
Share your setup
Musicians and audiophiles all over the world turn to sE to get the sound they want, the way they want it. What’s your go-to gear?