RNR1
The world's first mic from Mr. Rupert NeveWith custom transformers and discrete circuitry from the man behind the recording industry as we know it, the RNR1 hears more than any other ribbon on the planet.
RNR1
THE WORLD'S FIRST MIC FROM MR. RUPERT NEVEWith custom transformers and discrete circuitry from the man behind the recording industry as we know it, the RNR1 hears more than any other ribbon on the planet.
Vocals, acoustic guitar, electric guitar cab, orchestral + strings, piano, woodwinds, brass, drum kit, cymbals / OH, room
Inside the RNR1
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INNOVATIVE BUILD AND DESIGN
Ribbon mics have been around for a long time, and have always been particularly prized for the exceptionally “natural” sound they provide. Not too forward, never bright or shiny, they capture midrange detail with a pleasant intimacy and usually sit quite easily in a mix. One downside of their mellow nature used to be physical delicacy, but that challenge was conquered long ago with more rugged, reliable materials. But the other main negative with ribbon mics is the high-frequency roll-off inherent in their design, which had never been dealt with until Rupert Neve – the father of the recording console – decided to make a microphone.
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THE RIBBON
During the RNR1’s development, a full year was spent working on crafting a ribbon element that would provide the extended response that Mr. Neve demanded. After experimenting with ribbon materials available from all corners of the world, the design team landed on the 2.5µm aluminum ribbon used in the RNR1, striking the perfect balance of flexibility and stiffness needed for this microphone’s exceptional performance.
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THE TRANSFORMERS
Nobody knows audio transformers better than Rupert Neve, and ribbon mics require more transformer attention than any other. This is because the transformer that couples the ribbon to the output needs to accomplish a fairly massive impedance conversion. With the RNR1, two custom Rupert Neve-designed transformers form the buffer between the ribbon and the outside world. The circuitry between those transformers helps maintain the ultra-wide frequency response, compensating for the ribbon’s natural predisposition to roll it off, and thus high-frequency content is preserved.
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THE SHAPE
As with many sE microphones, the RNR1 has an unusual and bold design aesthetic, with the form following the function. The precision-machined and scalloped edges don’t just look vibrant and dramatic, they have also been custom-designed to provide the ribbon with an acoustically ideal setting for the best possible frequency response. The matte black finish means the mic remains unobtrusive and doesn’t draw any unnecessary attention to itself under harsh stage or studio lighting.
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SHOCKMOUNT + GOLD-PLATED XLR CONNECTOR
The RNR1’s custom-designed and easy-to-use shock mount, which is essential during a production to reduce the unwanted effects of vibration or knocks to the supporting microphone stand. With gold-plated XLR connectors, the RNR1 ensures loss-free, reliable signal connection for years and years and years of demanding use in the most challenging environments in the studio or on the tour.
Inside the RNR1 Shockmount
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CUSTOM SHOCKMOUNT + CHASSIS
The flat, edged chassis design and custom suspension mount allow the RNR1 to be centered within the shock and used unobtrusively to capture the subtleties of a drum kit or placed strategically on a concert hall stage with close-miking techniques easily applicable.
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Essential Low-End Rumble Protection
The custom-designed RNR1 shockmount is essential in use to reduce the unwanted effects of vibration or knocks to the supporting microphone stand.
Specs
Downloads
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SPOTIFY STUDIOS
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MEHRAD HIDDEN -
TINA GUO
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RUSANDA PANFILI
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GEORGE BOKOS | GRINDHOUSE STUDIOS ATHENS
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DAVID CATCHING
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SHANGHAI SYMPHONY ORCHESTRA HALL
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SIMON FRANGLEN
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JOHN O’MAHONY -
BRAD WOOD
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PEDRO EUSTACHE
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San Francisco Conservatory of Music
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MOODY MOUSSAVI
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FILIP JANČIK
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NEAL CAPPELLINO
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BILL REYNOLDS
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GEORGE PETIT
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CALEB FISHER
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ADAM LEE
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JUSTIN SCOTT -
FREDERIK BRANDT JAKOBSEN
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FREDERIC MICHEL
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LOUIE PALMER
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ALBERTO VAZ
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CHRIS LEIDHECKER -
Philip Hemmo
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Kent Aberle
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Mário Costa
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 shockmount should I get for my microphone?
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.
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.
I have one of your passive ribbon mics (VR1, X1 R), which does not require phantom power - but I can't turn off the +48V phantom power on my interface/preamp. Will this damage my ribbon mic?
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.
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.
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.