Classic sound, by any standards

The sE2200 is the latest version of the award-winning cardioid condenser microphone that put sE Electronics on the map many years ago with its smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. Made famous through use with world-class vocal artists like Amy Winehouse, it revives the spirit of classic studio microphones, and still remains a standard in mic lockers around the world.


Classic sound, by any standards

The sE2200 is the latest version of the award-winning cardioid condenser microphone that put sE Electronics on the map many years ago with its smooth, polished sound for vocals, voiceovers, and numerous instrumental applications. Made famous through use with world-class vocal artists like Amy Winehouse, it revives the spirit of classic studio microphones, and still remains a standard in mic lockers around the world.

Recommended Use

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

Hand-crafted 1” true condenser capsule individually tuned in our own factory
The same condenser microphone loved by an entire generation of engineers
Traditional Class-A electronic design with consistent low-noise performance
Custom-built output transformer and massively shielded all-metal housing
80 /160 Hz bass-cut filters and -10 / -20 dB pads

Inside the sE2200

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    Although the sE2200 is a cardioid-only microphone, two (instead of one) gold-sputtered diaphragms are used to ensure best possible acoustic performance. Every capsule is hand-crafted and individually tuned in our very own factory in Shanghai.

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    Its carefully selected, discrete components ensure brilliant sound quality on any source. The sE2200’s design still avoids using any ICs (integrated circuits) and is built to excel – not to a standard. State-of-the-art surface-mounted electronic components provide low noise, consistent performance and high sensitivity with extremely tight tolerances.

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    Reviving the spirit of classic studio microphones, the sE2300’s custom transformer provides superb depth & weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation – and unlike other microphones with backplate or electret designs, the sE2200 features a true externally polarized condenser capsule for the best possible performance in every aspect.

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    Selectable at either 80Hz or 160Hz, the two low-cut filters help eliminate low-frequency rumble and proximity effect in close-mic techniques with -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide variety of applications…think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums.

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    Unlike the cheaply constructed bodies of some other affordable microphones, the sE2200’s all-metal chassis provides efficient rejection of any electrical interference and noise – and gold-plated XLR connector ensures loss-free, reliable signal connection for years and years of demanding use in the studio or on stage.

Inside The Iso Pack

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    The integrated quick-release mechanism at the base of the shockmount makes it easy to insert or remove a mic. No screws, no hassle, just one twist to secure or release.

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    Made from metal (rather than delicate fabric), the pop filter can be vertically positioned to accommodate any mic or completely removed from the shockmount if desired.


Capsule Hand-crafted 1" True Condenser
Electrical impedance <50 Ohms
Recommended load impedance >1k Ohms
Connectivity 3-pin male XLR connector
Powering 48V Phantom Power (P48 according to IEC 61938)
Polar patterns Cardioid
Frequency range 20 Hz - 20 kHz
Sensitivity 24 mV / Pa (-32.5 dBV)
Max SPL 125 / 135 / 145 dB (0 / 10 / 20 dB pad) (0.5% THD @ 1kHz)
Equivalent noise level 8 dB
Dynamic range 117 / 127 / 137 dB (0 / 10 / 20 dB attentuation pad)
Signal to noise ratio 86 dB
Low-cut filter 80 / 160 Hz, 6 dB / Oct, switchable
Attenuation pad -10 / -20 dB, switchable
Current consumption 4.2 mA
Mic Diameter 51 mm (2.01 in.)
Mic length 215 mm (8.46 in.)
Mic weight 611 g (21.55 oz.)
What's in the box
sE2200 microphone
sE Isolation Pack (shock mount, pop filter)
thread adapter


User Manual
  • "You can get better quality if you pay 10 times the price, but the difference is less than you might expect."

    — Paul White, Sound On Sound, 2003
  • "I love the sE2200. It's an absolute war horse. We use it in our band's studio and we take it on tour - it can handle being chucked in my backpack, which is what we need on the road. Great bang for your buck, and I love having the freedom of plug & play immediately."

    — Matt Barnes, You Me At Six
  • "The sE Electronics sE2200 is an amazing microphone. It delivers a high resolution, an open, complete and slightly 'modern' frequency response in the broad sweet spot and a functional equipment - for really very little money."

    — Nick Mavridis,, 2017 (German)
  • “I use the sE2200 in my booth during my workshops so everyone can see how well it performs. I love the relationship that is developing between me, "Booth Camp" and sE Electronics!”

    — Joe Loesch, Grammy Nominated Producer / Voice Actor / Coach / Booth Camp
  • "I have used my 2200 primarily as a vocal mic, and have found pleasing results on a broad range of vocal timbres. Its subtly vintage yet highly detailed sound plays great with both solid state and tube preamps."

    — Josh Turner, Singer / Arranger / Multi-Instrumentalist / Engineer - sE Artist
  • "I have been using the sE Electronics 2200a for years. It’s by far my favorite affordable large diaphragm condenser. I use this almost every day for recording my own voice, and find myself using it in the majority of vocal sessions."

    — Rob Mayzes,
  • “The sE2200 is my mic of choice to record with! I love the clarity it gives, especially when I’m singing in my lower register! It’s a keeper!”

    — Roderick Harper, vocalist
  • “Sean McCarthy covers a whole range of vocal styles — whispering, talking, singing, screaming — sometimes all in one take! The sE2200a turned out to be the perfect mic because it was extremely quiet but very capable of handling the screams."

    — Andy Hong, Recording Hacks
  • "I was hesitant to try the sE2200a, having just used it as the “center” mic for the acoustic tracks, but I gave it a go anyway. Bingo! The highs were up front but much smoother than with the other mics, and the proximity effect brought up the “chest” in Chris’s voice. And the mids — especially the upper mids — were just what I needed…”

    — Andy Hong, Recording Hacks
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.

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.