Myles Kennedy Signature Edition Microphone

Best known as frontman for stadium-filling rock-acts Alter Bridge and Slash of Guns ‘n Roses, Myles Kennedy has been touring the world for many years. His experience, and expectations, ultimately led to this cooperation.



Best known as frontman for stadium-filling rock-acts Alter Bridge and Slash of Guns ‘n Roses, Myles Kennedy has been touring the world for many years. His experience, and expectations, ultimately led to this cooperation.

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 roadworn finish and black grille
All-metal housing and beveled spring grille
Specialized supercardioid aluminum voice coil
Patented integrated shockmount

Inside the V7 MK

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    The DMC7 X dynamic element in the V7 MK 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 MK’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 focus on your performance without fearing rumbles, pops, or anything other than your voice coming through.

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    The V7 MK’s road-ready design is all metal – no plastic parts here. The chassis’ high quality, highly durable zinc alloy is designed to withhold the wear & tear of day to day tour life 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. (It’s the little things that count).

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    Built with special plating for a unique look and feel, the V7 MK’s finish makes an immediate impression on stage or in the studio. Its gold-plated XLR connector ensures a loss-free and reliable signal connection for years to come and the V7 MK’s switchable internal windscreen efficiently reduces unwanted wind noise and plosive pops. And in the unlikely case you should not appreciate our stylish “sE Red” color, we’ve included a spare black windscreen in the box for you.

Inside the Grille

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

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    Efficiently reduces unwanted wind noise and plosive pops….And in the unlikely case you should not appreciate our stylish “sE Red” color, we’ve included a spare black windscreen in the box for you.


Capsule Dynamic
Electrical impedance 300 Ohms
Connectivity 3-pin male XLR connector
Polar patterns Supercardioid
Frequency range 30 Hz - 19 kHz
Sensitivity 2.0 mV / Pa (-54 dBV)
Magnet Neodymium
Voice coil Aluminum
Mic 47 mm (1.85 in.)
Mic length 176 mm (6.93 in.)
Mic weight 269 g (9.49 oz.)
What's in the box
mic clip
thread adapter
black internal screen
carrying pouch


User Manual
  • "The V7 MK dynamic vocal microphone has the perfect combination of extended frequency response and external bleed rejection to help me hear every detail while keeping me from pushing too hard on stage!"

    — Myles Kennedy, Lead Singer and Guitarist (Alter Bridge & Slash) - sE Artist
  • "The V7 MK delivers the secret, something that makes all the difference in the mix and does a stunning job on Myles' vocals. The MK not only captures his range and translates his timbre perfectly but also rejects all the clutter and noise on stage."

    — Patrick "Paddi" Krause, Engineer (Alter Bridge, TOTO, In Flames, and KoRn) - sE Artist
  • "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."

    — Drew Thornton, FOH / Mix Engineer (Billie Eilish)
  • "We are totally in love with these V7 MC1 capsules. It works perfectly with Common’s voice and style!"

    — Tim Hibbert, Monitor Engineer (Common)
  • "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
  • “So far, I have used sE mics on everything from air-show commentary (outdoors with the jets, and only 4m in front of the main speakers), to small band stages to major festival stages. The capsule suspension is superb, with incredibly little handling noise. They are as good or better than anything out there, even [microphones] costing significantly more.”

    — Simon Ryder, Multi-Award Winning Audio Engineer (Panic! At the Disco, Solange Knowles, Nick Cave, David Gilmour and many more)
  • “In a word, good. Very good. Less harshness, smoother extension and yet a similar voicing [to competing products]. All this stacks up to an incredible achievement, in a microphone that costs roughly half the price of the mic I have been comparing it to. The V7 is more open, with better transients in the low mid, and without that “brittle” quality. I would recommend it without hesitation to any artist or engineer.”

    — Simon Ryder, Multi-Award Winning Audio Engineer (Panic! At the Disco, Solange Knowles, Nick Cave, David Gilmour and many more)
  • “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. Very smooth top end and workable mid range. Captured Daniel Tompkin’s vocal perfectly. I will definitely keep this one in my arsenal.”

    — Weston Blaha, FOH Engineer (TesseracT)
  • "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. Plus, the V7 excels at all of the requirements for live use — even more so than the industry standards."

    — Andy Hong, Tape Op Magazine, Nov/Dec 2017
  • "...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, Nov/Dec 2017
  • "...the V7’s self-resonance is more than one octave lower than that of the three Shure mics — which means you have a much greater chance of being able to EQ (or multiband-compress) the handling noise out of a V7-recorded track, without losing as much from the lows and low-mids. This is a tremendous advantage when your singer wants to hold the mic."

    — Andy Hong, Tape Op Magazine, Nov/Dec 2017
  • "Moreover, given its stellar sonic performance, it’s also a great dynamic mic for drums, guitar amps, and other instruments too. I think every studio should have at least one V7 — for tracking live vocals, but also for recording anything that would make you pull out your other favored dynamic mics. Given its price, you can probably afford to buy a few of them."

    — Andy Hong, Tape Op Magazine, Nov/Dec 2017
  • "..feels comfortable and substantial in the hand...delivers a solid, natural vocal sound with good resistance to popping and suitably low handling noise."

    — Sound On Sound, Feb 2017
  • "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
  • "‘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
  • "Form and function go hand in hand as the impressively nuanced and accurate sound is augmented by some crafty design windfalls, not the least of which is the beveled ‘anti roll’ ring around the mic’s circumference. Overall it is a heavy duty, stylish and affordable addition to the front of the stage."

    — Mixdown Magazine, July 2017
  • "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
  • "On snare, the huge bottom end of the V7 conjured a snare sound that could punch through walls...for big heavy snares, this mic is a must have."

    — MusicTech, March 2017
  • "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
  • "In the V7 sE Electronics have a well-judged product that sits well with the excellent competition and is a level above similarly-priced 'budget' mics...it feels solid enough to last a lifetime in the studio or for general live use...I think these mics are a useful update to the classic design: the best of the past with design and sonic qualities for the future."

    — Arthur Stone, Gearspace.com
  • "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
  • "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
  • "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
sE artists

From mainstage headliners to the biggest names in engineering, our artists rely on sE  to bring their sound to life


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.