Like to sing? Here's some bling.

The V7 Chrome is a chrome-plated version of our best-selling V7, a dynamic vocal hand-held microphone with a supercardioid polar pattern. It delivers a crisp, open sound that perfectly captures your voice and instruments in the most natural way you've ever heard on stage.



The V7 Chrome is a chrome-plated version of our best-selling V7, a dynamic vocal hand-held microphone with a supercardioid polar pattern. It delivers a crisp, open sound that perfectly captures your voice and instruments in the most natural way you've ever heard on stage.

Recommended Use

Vocals, speech, broadcasting, podcasting, electric guitar, drums

Vast amounts of gain before feedback
Captures your voice in the most natural way you've ever heard on stage
Custom chrome-plated finish
All-metal housing and beveled spring grille
Specialized supercardioid aluminum voice coil
Patented integrated shockmount

Inside the V7 CHROME

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    The DMC7 dynamic element in the V7 CHROME has been custom-developed for a crisp, open sound that perfectly captures your voice in the most natural way you’ve ever heard on stage – and its sophisticated supercardioid capsule design helps isolate your voice from other instruments, ensuring vast amounts of gain before feedback. Proven Neodymium magnets, tight production tolerances & high-end workmanship ensure excellent sensitivity, superior sound quality and superb consistency.

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    The V7 CHROME’s brand new, patented shockmount efficiently decouples the capsule from mechanical vibration, providing exceptionally low handling noise as compared to other mics in its class. This means you can feel free to move around on stage without fear of rumbles, pops, or anything other than your voice coming through. Plus, a gold-plated XLR connector ensures loss-free, reliable signal connection for years and years of demanding use.

  • V7-CHROME-Image-Resize-5-aspect-ratio-545-390


    The V7 CHROME road-ready design is all metal – no plastic parts here. The chassis’ high-quality, highly durable zinc alloy is designed to hold up under on-stage stress for years, and the spring steel mesh grille is dent-proof and corrosion-free for perfect reliability. Also, see that beveled edge around the grille? That prevents your mic from rolling around when you put it down on top of your amp or the stage floor. (It’s the little things that count).

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    With this special plating and switchable internal windscreen for a customizable aesthetic, the V7 CHROME’s highly-polished chrome finish makes an immediate impression on stage or in the studio. The switchable internal windscreen reduces unwanted wind noise and plosive pops….and just in case you’re in need of a different color, we’ve included a spare “sE red” windscreen in the box for you.

Inside the CHROME grille

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    The beveled edge around the grille is made to prevent your mic from rolling when you put it down on top of your amp or the stage floor – so simple, yet so effective. The V7 CHROME’s spring steel mesh grille is dent-proof and corrosion-free for perfect reliability.

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    Efficiently reduces unwanted wind noise and plosive pops….and just in case you don’t like the stylish “BFG purple” color, we’ve included a spare black windscreen in the box for you.


Capsule Dynamic
Electrical impedance 300 Ohms
Connectivity 3-pin male XLR
Polar patterns Supercardioid
Frequency range 40 Hz - 19 kHz
Sensitivity 2.0 mV/Pa (-54 dB)
Magnet Neodymium
Voice coil Aluminum
Mic diameter 54 mm (2.13 in.)
Mic length 184 mm (7.24 in.)
Mic weight 296 g (10.44 oz.)
What's in the box
mic clip
thread adapter
spare red internal windscreen
carrying pouch


User Manual
  • "I PREFER the sE V7 microphone vs. the industry benchmark dynamic vocal microphone."

    — Ken "Pooch" Van Druten, FOH Engineer (Linkin Park, Justin Bieber, Kid Rock) - sE Artist
  • “It’s a breath of fresh air to have a mic that is not only a dynamic capsule with great rejection, but to also have a very smooth high mid response with a nice airy top end makes it a force to be reckoned with. It also responds very well to cupping, which is helpful in keeping a more consistent vocal tone. I am a huge fan of the V7!”

    — Drew Thornton, FOH / Mix Engineer (Billie Eilish)
  • “We love our capsules. It works fantastic with Big Sean for his dynamic changes from rapping to singing!"

    — Luis “Lou” Rodriguez, Monitor Engineer (Big Sean)
  • "We are totally in love with these V7 capsules. They work perfectly with Common’s voice and style!"

    — Tim Hibbert, Monitor Engineer (Common)
  • "It just makes our job a lot easier…we just really love the V7, it’s been great."

    — Andy Meyer, FOH Engineer (Justin Timberlake, Madonna, Guns N’ Roses, Rage Against The Machine) - sE Artist
  • “The V7 was by far the most stable capsule I have ever used even in front of a PA! They were smooth & crystal clear!”

    — Jeremy du Bois, PM / FOH (Nick Carter, Trey Songz, Iggy Azalea)
  • “Switching to the V7 was a great decision. Brought up the mic flat in a ‘not so great’ club, and even flat it sounded amazing."

    — Weston Blaha, FOH Engineer (TesseracT)
  • “The V7's rejection was very impressive, and the bleed that was present was more pleasing and easier to work into the mix. The price also makes it a no brainer.”

    — Jamie Skey, FOH Engineer (Mabel)
  • "I have a new snare mic now. The sE V7 beat all my usual (and a few unusual) suspects in a blind test, and now it’s my go-to. Perfect tone and great hi-hat rejection. It’s killer!"

    — F. Reid Shippen, GRAMMY®-winning mix engineer / producer (Ingrid Michaelson, Kenny Chesney) - sE Artist
  • "The V7 sounded as though the singer was using a large diaphragm condenser. His voice was just bigger and more forward, without doing any EQ or compression."

    — Dan Smith, Audio Director - Willow Creek Community Church
  • "The V7 is my first choice for live vocal mic. They sound great, they have a good presence to them, and reflect what is happening on stage well."

    — Josh Guarneri, Media Director of Calvary Baptist Church, McAllen TX
  • "The V7...is a stage mic that doesn’t feel like a compromise. I’ve had this mic for almost a year, and it’s captured amazing vocal performances, with stellar sounding results."

    — Andy Hong, Tape Op Magazine, Nov/Dec 2017
  • "Plus, the V7 excels at all of the requirements for live use — even more so than the industry standards...great rejection and a smooth off-axis frequency response, with fewer ups and downs in the spectrum vs. the Beta 58A."

    — Andy Hong, Tape Op Magazine
  • "The V7, in a word? Perfectamundo!"

    — Billy F. Gibbons - ZZ Top, The BFGs - sE Artist
  • "They manage to sound punchy without ever being over-harsh in the presence region...[the V7's] extended frequency response and good resistance to feedback make it a strong performer."

    — Sound On Sound, Feb 2017 (full review)
  • "‘Does the world really need another dynamic vocal mic?’ I hear you ask. With one that does the job so well as this one, the answer is yes."

    — Mixdown Magazine, July 2017
  • "In a direct shoot out against my 57, I found the response particularly informative down around 100Hz without sacrificing any of the excitement and nuance up at 5kHz and again at 12- 15kHz."

    — Mixdown Magazine, July 2017
  • "I am absolutely floored by the versatility of the V7. The way that mic handles the highs while still maintaining the low end qualities of my voice truly stunned me...I'm having a lot of fun with it on stage."

    — Terra Lopez, Singer (Rituals of Mine) - sE Artist
  • "Feedback wasn’t an issue...even when the grille was inevitably cupped by the grip of an MC not yet schooled in proper mic technique, neither mic went into feedback."

    — MusicTech, March 2017
  • "With some high-pass filtering the V7 sounds solid and the midrange captures an aggressive bite, particularly in the 800Hz range that none of the others could compete with."

    — MusicTech, March 2017
  • "We did an A/B comparison through the Q wedge and the V7 smoked a standard 58...it's easily worth $150-199."

    — Ryan Pickett, FOH Engineer (Ray LaMontagne, My Morning Jacket, Jim James) - sE Artist
  • "Finding the right microphone for Tommy from Between the Buried and Me has always been a challenge. Having tried a large number of industry standard microphones we never found one that works well for him until we tried the sE V7. We both noticed the difference instantly."

    — Gary Sharpe, FOH Engineer (Between the Buried and Me, Every Time I Die)
  • "The V7 is an all around great mic that really captures my voice and blocks out the rest. I’ve had a lot of issues in the past with feedback - as we like it really loud on stage - and this mic seems to be a perfect fit for what I’m looking for."

    — Alexis Mincolla, Singer (3Teeth)
  • "I was surprised at how well-voiced the V7 is for a mix, closer to a LDC mic than the usual hand-held; a clear bright representation with plenty of detail in the vocal range."

    — Arthur Stone, Gearspace.com
  • "We recently did a shootout with the new sE V7 handheld vocal mic against two classics, the Shure SM-58 and SM-7 and were very impressed with the V7. It had a much more extended top and bottom and the off axis rejection was much, much better than either of the Shure classics."

    — John Baccigaluppi, Single Fin Studio Group
  • "We did an A/B comparison through the Q wedge and the V7 smoked a standard 58...it's easily worth $150-199."

    — Ryan Pickett, FOH Engineer (Ray LaMontagne, My Morning Jacket, Jim James)
  • "Technically perfect design...robust sound for the stage that does not cost the world."

    — Bonedo.de
  • "...its subtle metallic effect makes the live microphones a real eye-catcher...they also feel very valuable."

    — Bonedo.de
  • "The processing of the microphones is faultless...and small gimmicks, such as the anti-roll ring at the microphone head and replaceable inner windscreen, make working with newcomers in this field like sE Electronics a pleasure."

    — Bonedo.de
  • "With the V7, singing behind the drums is not a problem anymore. Besides the fantastic sound, the V7 isolates my voice perfectly from the drums, and now it's possible to record my vocals while drumming."

    — Titus Vadon, Composer / Musician
  • "I was shocked by how big a difference there was in off-axis rejection, handling noise and susceptibility to plosives. In side-by-side testing, the sE V7 outperformed a group of all the usual suspects–it's a winner in my opinion."

    — Lynn Fuston, Recording Engineer (Amy Grant, DC Talk, Michael W. Smith)


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.
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.

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.

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 connect my microphone to my computer?

You’ll need some sort of audio interface to do this – essentially, a box that converts an analog signal into a digital one, and sends the digital signal to your computer software in a way that your computer can understand. Some audio interfaces also include microphone preamplifiers, which raise the signal level from “mic level” to “line level” – if you are using an interface with no built-in preamp, you’ll need to plug the mic into a separate mic preamp first.