V7 PTT

Push To Talk

The V7 PTT is a talk-back version of our best-selling V7, a dynamic hand-held microphone with a supercardioid polar pattern. It delivers the same sound you know and love, now with a virtually noiseless Push To Talk button.

Intuitive, simple and easy - just Push To Talk.

V7 PTT

Push To Talk

The V7 PTT is a talk-back version of our best-selling V7, a dynamic hand-held microphone with a supercardioid polar pattern. It delivers the same sound you know and love, now with a virtually noiseless Push To Talk button.

Intuitive, simple and easy - just Push To Talk.

Recommended Use
  • Talk-back microphone for live sound engineers and tech crew
  • General purpose paging applications
Highlights
Never again forget to mute talkback mics that are not in use
Virtually noiseless button - no clicking noise on in-ear mixes, wedges, PA, etc.
The same open, clear sound as our V7
Impressive rejection and high gain-before-feedback
All-metal housing and beveled spring steel grille













Inside the V7 PTT

  • V7-Image-Map-2-aspect-ratio-545-390

    INNOVATIVE, SPECIALIZED ALUMINUM VOICE COIL

    The V7 PTT features the same DMC7 dynamic capsule you’ve come to love in the V7, custom-developed for a crisp, open sound that perfectly captures your voice in the most natural way you’ve ever heard. Its sophisticated supercardioid capsule design also helps isolate your voice from other sources, even in harsh, loud live environments.

  • V7-Image-Map-2-aspect-ratio-545-390

    PATENTED INTEGRATED SHOCK MOUNT

    The V7 PTT’s 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 without fear of rumbles, pops, or anything other than your voice coming through.

  • V7-BLACK-Dual-Grille-aspect-ratio-545-390

    ALL-METAL HOUSING & BEVELED SPRING STEEL GRILLE

    The V7 PTT’s 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. The beveled edge around the grille prevents your mic from rolling around when you put it down on top of your console.

  • xlr

    INTERNAL WINDSCREEN, ALL-BLACK FINISH & GOLD-PLATED XLR CONNECTOR

    Efficiently reduces unwanted wind noise and plosive pops….and just in case you don’t like our stylish “sE Red” color, we’ve included a black windscreen in the box for you. With a unique look and feel, the V7 PTT’s finish makes an immediate impression on stage or in the studio with a gold-plated XLR connector to ensures a reliable signal connection for years to come.

Inside the Mic Grille

  • V7-BLACK-Dual-Grille-aspect-ratio-545-390

    BEVELED SPRING STEEL GRILLE

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

  • Windscreens

    SWITCHABLE INTERNAL WINDSCREEN

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














Specs

Components
Capsule Dynamic
Power
Electrical impedance 300 Ohms
Connectivity 3-pin male XLR connector
Sound
Polar patterns Supercardioid
Frequency range 40 Hz - 19 kHz
Sensitivity 2.0 mV / Pa (-54 dBV)
Magnet Neodymium
Voice coil Aluminum
Dimensions
Mic Diameter 54 mm (2.13 in.)
Mic length 184 mm (7.24 in.)
Mic weight 307 g (10.83 oz.)
What's in the box
V7 PTT microphone
Mic cradle
Thread adapters (5/8” to 1/4” + 5/8” to 3/8”)
Locking nuts (1/4” + 3/8" + 5/8”)
Zipper pouch
Black internal windscreen

Downloads

User Manual
Quick Start Guide
  • “These are without a doubt the best thing to happen to on-stage communication since the radio.”

    — Nate Northway, FOH (A Day To Remember)
  • "The new leader in talk back mics."

    — Gary Sharpe, FOH (Escape The Fate)
  • "A button rather than a switch, a small thing you would think, but in use its huge. You never fear that the band haven’t turned off their talkback, and when using it yourself you don’t have to think about it in the heat of the moment. Couple that with great sound quality in a nicely weighted mic and you have a great addition to your setup."

    — Colin Pink, FOH (Hans Zimmer Live)
  • "A solution I've always wanted. Easy communication between musicians and technicians without accidentally open TBs. And with the easy mounting, it's always quickly at hand!"

    — Thimo Strobel, FOH (Milky Chance)
  • “The sE push to talk mic is a game changer for our talkbacks! PTT by sE solves the open mic issue in STYLE! Never going back.”

    — Jonathan "Twan" Jarrell, FOH (Cannibal Corpse)
  • “It’s simple, it does exactly what it says it does. No more accidentally left open talkback mics throwing off everyone’s mix. If you hold the button it’s on... if you don’t, it’s off. sE has solved this problem.”

    — Danny Halpren, FOH (Larry Fleet)
  • "A simple, great sounding solution we didn’t know we needed."

    — Chris Braun, FOH (Royel Otis)
  • "sE has done it again, but this time revolutionizing the talkback mic to be a Push To Talk. Not only will I sound and look good, I now have a great talkback mic that is truly a game changer."

    — John Eley, FOH (Jhene Aiko)
  • “Everyone hates an open mic down a shout system. The non-latching switch takes away the need to think about that. A simple, but incredibly useful tool.”

    — Andy Robinson, FOH (Beabadoobee)
  • "The perfect tool to express your most intimate thoughts and profound ideas to the huddled masses on stage. As with other sE products I have used, it is built to withstand the harsh and battle-scarred landscape of the touring world. And look great while doing it!"

    — Arpad Sayko, FOH (Chris Stapleton)
  • "It's comforting to know that with the V7 PTT, no-one will ever hear what I really think of them now that I can't accidentally leave my talkback mic on after saying something nice about their tone.”

    — Ashton Parsons, Live Sound Mixer
  • "What a great tool to add to the arsenal. I'll be switching, no pun intended, over all the talkbacks to these. No more techs leaving on mics. No more me leaving on mics. Great quality and I love the new clip for ease."

    — Courtney Warner, FOH (Brothers Osborne)
  • “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."

    — Drew Thornton, FOH / Mix Engineer (Teddy Swims/Billie Eilish)
  • "The 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 also realized how much other stuff was coming through my old microphone. My ear mix is so much cleaner and tighter now, which makes it that much more fun on stage.”

    — Russell Dickerson, Singer
  • "The sE V7 is, without a doubt, the most transparent microphone capsule in our inventory right now."

    — Dan Smith, Audio Director - Willow Creek Community Church
  • "The V7, in a word? Perfectamundo!"

    — Billy F. Gibbons - ZZ Top, The BFGs
  • "Technically perfect design...robust sound for the stage that does not cost the world."

    — Bonedo.de














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.?

Use our Find Your Gear page to filter by applications and drill down further according to your specific needs!

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.

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.