T2

Titanium makes the difference

The T2 appeals with its down-to-earth elegance, offering discrete electronics prioritizing the features you really need. With titanium being much stiffer and three times lighter than gold, your transients will never be the same.

T2

Titanium makes the difference

The T2 appeals with its down-to-earth elegance, offering discrete electronics prioritizing the features you really need. With titanium being much stiffer and three times lighter than gold, your transients will never be the same.

Recommended Use

Drums, percussion, overheads, hi-hats, orchestral + strings, piano, bass guitar cab, acoustic guitar, electric guitar cab, vocals, woodwinds, brass

Highlights
Hand-crafted titanium-sputtered true condenser capsule
Accurate definition and fast transient response
Switchable pickup patterns, cardioid, omnidirectional, figure-eight, and hypercardioid
Innovative close-miking shockmount
40 / 80 Hz bass-cut filters and -10 / -20 dB pads
Available in a matched-pair configuration
















Inside the T2

  • T2-_0002_T24400_1.39.1-aspect-ratio-545-390

    HAND-CRAFTED 1″ TITANIUM-SPUTTERED TRUE CONDENSER CAPSULE

    The T2’s titanium-sputtered capsule is much stiffer and three times lighter than gold, giving it a quicker transient response than gold-sputtered capsules, which is essential when recording instruments that have fast attack – like drums and percussion – to maintain clarity and deliver exceptionally accurate performance.

  • T2-_0003_T24400_1.37.1-aspect-ratio-545-390

    FREE OF THRILLS, NO LEDs. NO PLASTIC SWITCHES.

    Select between 4 polar patterns with metal switches, from cardioid to omnidirectional or figure-eight to hypercardioid, with a gold-sputtered, dual-diaphragm capsule for precision-based miking techniques to minimize signal bleed from unwanted sources in demanding studio or fast-paced live environments.

  • T2-_0006_T24400_1.16.1-aspect-ratio-545-390

    DENT-PROOF METAL HOUSING & PREMIUM FINISH

    Hand-crafted with the highest attention to detail, built with a roadworthy die-cast all-metal housing, metal switches, and rugged spring steel wire mesh grille, the T2 is built to last for years of demanding studio use and the day-to-day life of a touring artist.

  • T2-_0001_T24400_3.6.1-aspect-ratio-545-390

    SWITCHABLE PRE ATTENUATION PAD & BASS-CUT FILTER

    Select between two pre-attenuation pads for an extended dynamic range and compensate for loud vocals, guitars, drums, and brass instruments. With two low-cut filters, easily tame excessive low-frequency rumble and proximity effect and efficiently adjust for close-miking techniques.

  • T2-_0004_T24400_1.22.1-aspect-ratio-545-390

    AVAILABLE AS A MATCHED STEREO-PAIR

    Each T2 Matched-Pair is rigorously tested, tuned in-house and sonically matched to ensure a virtually identical frequency response for balanced, consistent sound. Complete with a metal mic case, stereo bar, two shockmounts and two T2 microphones.

Inside the T2 Matched-Pair & Shockmount

  • T2-Image-Map-13-aspect-ratio-545-390

    TUNED & SONICALLY MATCHED IN-HOUSE

    Each T2 Matched-Pair is rigorously tested, tuned in-house and sonically matched to ensure a virtually identical frequency response for balanced, consistent sound. Complete with a metal mic case, stereo bar, two shockmounts and two T2 microphones.

  • T2-_0000_T24400_2.7.1-aspect-ratio-545-390

    CUSTOM SHOCKMOUNT + CHASSIS

    The flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, used flat against a drum head or guitar cab, among many other use cases, and provides exceptional protection from low-end rumble and footfall noise.

















Specs

Components
Capsule Hand-crafted 1“ true condenser capsule
Diaphragm Titanium-sputtered mylar
Power
Electrical impedance 22 Ohms
Connectivity 3-pin male XLR connector
Powering 48 Volts according to IEC 61938
Sound
Polar patterns Cardioid, Hypercardioid, Omni-directional, Figure-8
Frequency range 20 Hz - 20 kHz
Sensitivity 25 mV / Pa (-32 dBV)
Max SPL 137 / 147 / 157 dBSPL (0/10/20 dB Attenuation pad - 0.5% THD)
Equivalent noise level 13 dB(A)
Signal to noise ratio 81 dB
Low-cut filter 40 / 80 Hz, 6 dB/Oct, switchable
Attenuation pad 10 / 20 dB, switchable
Dimensions
Mic weight 290 g (10.23 oz.)
Mic length 146 mm (5.75 in.)
Mic width 58 mm (2.32 in.)
Mic diameter 29 mm (1.10 in.)
What's in the T2 box
T2 microphone
Custom shockmount + thread adapter
Metal case
What's in the T2 Matched-Pair box
T2 microphone (x2)
Custom shockmount + thread adapter (x2)
Stereo mounting bar
Metal case

Downloads

User Manual
  • "I’m looking for a mid-range texture that the T2 gives me."

    — Greg Price, FOH Engineer (on Tony Iommi's tone for Black Sabbath)
  • "The T2s sounded exactly like I hoped they would. Punch and beef on toms was the number one criteria, and they delivered. Just slight EQing in my API 560s and they were perfect."

    — Chris Fogel, Scoring Engineer (Black Panther, The Wolf of Wall Street) - sE Artist
  • "One of the challenges of recording talking drums and sabar is to get the percussive impact, but still have the tone - the T2s give me both things that I need."

    — Chris Fogel, Scoring Engineer (Black Panther, The Wolf of Wall Street) - sE Artist
  • "It's a firm, huge sound...it does low end really well. This is my favorite upright bass mic." "We could tell right away that it was bad a**."

    — Bill Reynolds, Producer / Engineer / Bassist (Avett Brothers, Band of Horses) - sE Artist
  • "I'm looking for a mid-range texture that the T2 gives me."

    — Greg Price, FOH engineer (Black Sabbath) - sE Artist
  • “…just wow. Everything we’ve used it on sounds phenomenal."

    — Michael Ulysses, Bridge City Sessions
  • Our bass game is totally cinched up with the T2…we usually don’t even need to EQ it. When we’re tracking single guitar tracks, the T2 is all we need. It’s really a beautiful mic.”

    — Michael Ulysses, Bridge City Sessions
  • "What really surprised me was the quality of the sound in front of a kick drum. The clarity and bass response was tremendous, and the sub-bass I could get from the T2 alone was fantastic…"

    — Recording Hacks
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.