Ultra-wide frequency response preserved by integrated circuitry
Hand-tensioned 2.5µm aluminum ribbon
Unique and bold design aesthetic with precision-machined and scalloped edges
Custom-designed and easy-to-use shock mount
100 Hz bass-cut filter and gold plated XLR connectors
Inside the RNR1
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.
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.
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.
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.
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
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.
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.
TransducerHand-crafted 2.5 µm aluminum ribbon
Connectivity3-pin male XLR connector
Powering48V Phantom Power (P48 according to IEC 61938)
"My favorite ribbon mic in the entire world...A pair of those on a Steinway is about as good as it gets. They have that lovely extension on the top end that normal ribbons don’t have, but still have all the characteristics that I love."
— Simon Franglen, GRAMMY®-winning Composer/Producer ('Avatar', 'Titanic', 'Skyfall') - sE Artist
"The RNR1 was fantastic. I used it on solo ethnic winds, which can be really tinny and one-dimensional with the wrong mic. But the RNR1 sounded fantastic - three-dimensional and huge. I had to do nothing but light compression in the mix. No EQ."
— Chris Fogel, Scoring Engineer ('The Wolf of Wall Street', 'The Secret Life of Walter Mitty', 'Old School')
“On brass instruments, they’re just terrific. Very forgiving…they get rid of all the artifacts, and you’re left with a nice, rounded brass sound.”
— Simon Rhodes, Recordist / Mixer (Spectre, Skyfall, Grand Budapest Hotel) - sE Artist
"The RNR1 is the next level in ribbon mic design; it's simply the most detailed sounding ribbon mic I’ve ever heard. It's stunning in all the obvious applications, and for my taste it's the first ribbon I’ve been truly happy to use on lead vocal."
— John O'Mahony, Mixer / Producer (Vance Joy, Sarah Bareilles, Coldplay, Metric) - sE Artist
"Where this mic stands out is at the extremes of the frequency spectrum, which is where the input of Rupert Neve becomes apparent. We have ribbon mics that we favor for LF work, but the RNR1 just seems to go down an extra octave to produce some of the most glorious lows we've ever encountered."
"At the other end of the spectrum the same extension and transient response occurs with a smooth and accurate response that never blurs complex harmonic interrelationships. It also allows the airy realism of a source and its acoustic space to come through without hype or harshness."
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.
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.
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 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.
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.
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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?