sE8

Small in stature, huge in sound

Fit for any challenges in the studio or on stage, the sE8 is a brand new high-performance handcrafted small-diaphragm condenser, fresh from the labs at sE.

sE8

SMALL IN STATURE, HUGE IN SOUND

Fit for any challenges in the studio or on stage, the sE8 is a brand new high-performance handcrafted small-diaphragm condenser, fresh from the labs at sE.

Recommended Use

Acoustic guitar, choir, orchestral + strings, piano, woodwinds, drums, percussion, cymbals / OH

Highlights
Hand-made capsule & all-metal build
Balanced sound & sophisticated backplate design
Perfect for sources like high-hats and drum overheads
One of the quietest small-capsule mics on the planet
Highest dynamic range and SPL handling in its class
Integrated attenuation pads and low-cut filters

















Inside the sE8

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    HANDCRAFTED TRUE CONDENSER CAPSULE

    The sE8’s gold-sputtered diaphragms ensure maximum reliability for natural, balanced sound quality. Every capsule is handcrafted and individually tuned in our very own factory with precision electrode design optimized for superb linearity and natural sonics. An ultra-thin 3-micron gold-sputtered diaphragm for superior transients and a newly-developed backplate design provides smooth, natural sound & truly consistent off-axis response. The sophisticated acoustic design with precision components avoids coloration in demanding applications.

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    TRANSFORMERLESS CLASS-A CIRCUITRY

    With zero integrated circuits, and state-of-the-art electronics, the sE8’s transformerless design ensures pristine sound quality, reproducing instruments with excellent clarity and depth. The proven Class-A circuitry ensures a high dynamic range without distortion and brilliant transient response.

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    TWO SWITCHABLE PRE-ATTENUATION PADS & TWO SWITCHABLE LOW-CUT FILTERS

    The -10 dB and -20 dB pad switches provide extended dynamic range, enabling a wide range of applications and close-mic techniques for brass instruments, snare drums, and more. With selectable 80Hz or 160Hz, filters the sE8 low-cut filters help eliminate low-frequency rumble or footfall noise, as well as help compensate for excessive bass (proximity effect) with close-mic techniques.

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    ALL-METAL HOUSING WITH GOLD-PLATED XLR CONNECTOR, PREMIUM FINISH & ACCESSORIES

    Unlike the cheaply constructed bodies of some small-capsule microphones, the sE8’s all-metal chassis provides efficient rejection of any electrical interference and noise – and the high-quality finish and gold-plated XLR connector ensures a great look and a loss-free, reliable signal connection for years to come. The sE8 also comes standard with a newly-designed mic clip that will securely attach it to any mic stand.

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    WHY A HANDCRAFTED CAPSULE?

    As with all of sE’s true condensers, the sE8’s gold-sputtered capsule is handcrafted and hand-tuned by skilled technicians in our own factory. This is highly unusual for mics at this price, and is a great point of pride for us. Building and tuning a capsule is a subtle, artistic process, and given the scale of the vibrations which they must perceive, this is the most vital element of the mic.

sE8 Matched Pair

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    sE8 Matched Pair

    As with all of our factory-matched pairs, every mic ending up in a sE8 Stereo Pair configuration is hand-selected from hundreds of individual microphones. This ensures identical performance and the highest possible mic-to-mic consistency, so you can rest assured that your stereo image will be as clear & accurate as possible.

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    What comes with the matched pair?

    The sE8 Matched Pair comes complete with a precision stereo mounting bar, two protective wind screens, two mic clips, and a robust high-quality metal flight case.
















Specs

Components
Capsule Hand-crafted 1/2" True Condenser
Power
Electrical impedance 110 Ohms
Recommended load impedance >1k Ohms
Connectivity 3-pin male XLR connector
Powering 48V Phantom Power (P48 according to IEC 61938)
Sound
Polar patterns Cardioid
Frequency range 20 Hz - 20 kHz
Sensitivity 25 mV / Pa (-32 dBV)
Max SPL 139 / 149 / 159 dB (0 / 10 / 20 dB pad) (0.5% THD @ 1kHz)
Equivalent noise level 13 dB
Dynamic range 126 / 136 / 146 dB (0 / 10 / 20 dB attentuation pad)
Signal to noise ratio 81 dB
Low-cut filter 80 / 160 Hz, 6 dB / Oct, switchable
Attenuation pad 10 / 20 dB, switchable
Current consumption 2.7 mA
Dimensions
Mic Diameter 23 mm (0.91 in.)
Mic length 120 mm (4.72 in.)
Mic weight 141 g (4.97 oz.)
What's in the box
sE8 microphone
mic clip (with thread adapter)
wind screen

Downloads

User Manual
  • "These sE8s are really blowing me away...the response is so great."

    — Adam Lazzara, (Taking Back Sunday)
  • "...they were reminiscent of some of the best condensers I've used, some much more expensive."

    — MIX Magazine
  • "The sE8s are pro-quality transducers at an entry-level price."

    — MIX Magazine
  • "Even and smooth sonic capture, not harsh at the top end. Excellent storage case and stereo bar included."

    — MIX Magazine
  • “Compared to my typical favorites for the job (Roswell Delphos LDCs or Vanguard Audio Labs V1S SDCs) the sE8s were a little smoother and understated up top, similarly neutral and linear thought the mids, and a little thicker through the low-mids into the bottom-end."

    — Rob Tavaglione, Pro Audio Review
  • "Dynamics were open and unrestrained, while the soundstage remained stable (good matching and consistency in manufacturing makes for good imaging), wide and smooth, with off-axis sounds like good SDCs often have.”

    — Rob Tavaglione, Pro Audio Review
  • “Unlike many inexpensive small diaphragm condensers, the sE8's high frequencies were smooth and not spitty or noisy."

    — Adam Kagan, Tape Op Magazine
  • "Compared to an AKG C451, the sE8 seemed to provide a smoother midrange, with less of that high frequency sizzle that sometimes sounds harsh on hard-strummed acoustic guitars.”

    — Adam Kagan, Tape Op Magazine
  • "...we are faced with a product that, as the British would say, is "bang for the buck", that is really remarkable for the price to which it is proposed."

    — Age of Audio (Italian)
  • "When I recorded using the two mics as a coincident pair, the stereo image was well balanced, and the off-axis response also holds up well, with relatively little HF drop-off at 90 degrees off-axis."

    — Sound On Sound, March 2018
  • "Dead quiet, dead honest. Small enough to be positioned in awkward spaces. For when your sound source is just right as is."

    — Josh Turner, Singer / Arranger / Multi-Instrumentalist / Engineer - sE Artist
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.

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.