All rock, but no roll!

Built with the same game-changing benefits as the V7 dynamic microphone – more gain before feedback, exceptional off-axis rejection, and a beveled edge that keeps the V7 right by your side, meet the V7 SWITCH


All rock, but no roll!

Built with the same game-changing benefits as the V7 dynamic microphone – more gain before feedback, exceptional off-axis rejection, and a beveled edge that keeps the V7 right by your side, meet the V7 SWITCH

Recommended Use

Talkback, live performance, rehearsal, vocals, voice, instruments

Vast amounts of gain before feedback
Captures your voice in the most natural way you've ever heard on stage from behind a console
Recessed lockable on / off switch
Silent click-free operation thanks to its proven reed element
All-metal housing and beveled spring grille
Specialized supercardioid aluminum voice coil
Patented integrated shockmount

Inside the V7 SWITCH

  • V7-SWITCH-Image-Map-8-1-aspect-ratio-545-390


    Sound engineers have never sounded this good! The DMC7 dynamic capsule in the V7 SWITCH has been custom-developed for a crisp, open sound that perfectly captures your voice and instruments 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.

  • V7-SWITCH-Image-Map-5-aspect-ratio-545-390


    With the same great feature set and impressive specifications as V SERIES dynamics, the V7 SWITCH offers a professional on-off switch that can be locked. Especially useful to ensure that the microphone is not accidentally muted in the middle of a performance. The V7 SWITCH provides noiseless, click-free operation thanks to the proven reed element. Moreover, its vacuumized contacts ensure trustworthy operation in demanding live settings for years.

  • V7-Image-Map-3-aspect-ratio-545-390


    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 SWITCH spring steel mesh grille is dent-proof and corrosion-free and comes complete with an extra black windscreen in case you don’t like our stylish “sE Red” color!

  • V7-SWITCH-Image-Map-16-e1657906364858-aspect-ratio-545-390


    The V7 SWITCH utilizes sE’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 on stage without fear of rumbles, pops, or anything other than your voice coming through.

  • V7-SWITCH-Image-Map-10-aspect-ratio-545-390


    The V7 SWITCH is built with a road-ready design – all metal – no plastic parts here. The chassis’ high-quality, highly durable zinc alloy and gold-plated XLR connector are designed to hold up under the most demanding tours and live environments for years and years to come.

Inside the Mic Grille

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


    Having a spare mic grille is a must these days. The V7 MG and V7 MG BLACK are replacement grilles for the V7 SWITCH that ensure germs, viruses or something less harmful, like garlic breath from the singer before you, doesn’t inhibit your best possible performance. Having spare V7 mic grilles are the ideal for keeping yourself and others safe on stage.


Capsule Dynamic
Electrical impedance 300 Ohms
Connectivity 3-pin male XLR connector
Polar patterns Supercardioid
Frequency range 40 Hz - 19 kHz
Sensitivity 2.0 mV / Pa (-54 dBV)
Magnet Neodymium
Voice coil Aluminum
Switch Reed element
Mic Diameter 54 mm (2.13 in.)
Mic length 184 mm (7.24 in.)
Mic weight 305 g (10.76 oz.)
What's in the box
V7 SWITCH microphone
mic clip
thread adapter
spare black internal windscreen
zipper pouch
sE logo sticker
quick start guide
User manual with warranty card


User Manual
Quick Start Guide
  • "Several of my artists are on V7‘s, because of its phenomenal rejection and great sound. And now, there’s a V7 with a switch, perfect for talk back applications and I don’t mind the fact that it makes me sound better too!"

    — Paddi Krause, MON (In Flames)
  • "Everyone deserves to be heard and with the V7 SWITCH, I never have to repeat myself. Gone are the days of the crappiest mic goes to the MON/ FOH Talkback!"

    — Danny Halpren, Monitor Engineer (Carly Pearce)
  • "My acts have noticed the difference in the pickup pattern on stage since I've been using the V7 SWITCH as a talkback microphone. Significantly less stage bleed when using the V7 SWITCH to communicate."

    — Kyle Gerhart, FOH (Scott stapp/Fuel/Lil Durk)
  • "We are totally in love with these V7's. They work perfectly with Common’s voice and style!"

    — Tim Hibbert, Monitor Engineer (Common)
  • "Smooth & crystal clear. I found I could place the voice right where I wanted in the mix with zero leakage even on small stages."

    — Jeremy du Bois, PM / FOH (Nick Carter, Trey Songz, Iggy Azalea)
  • "sE mics have a very clean sound and their high output helps with not having to over use preamps. I highly recommend them.”

    — Luis “Lou” Rodriguez, Monitor Engineer (Big Sean)
  • "The smoothness in the lows and lack of problematic proximity effect teamed with no harshness in upper mids."

    — Alexander Archer, VEVO DSCVR - sE Artist
  • "I love my V7 SWITCH, with its silent switch and a super tight pick up pattern I can talk to my artist and band with out it sounding like a room mic opened up on stage!"

    — Danny Halpren, Monitor Engineer (Carly Pearce)
  • "On stage, it is extremely forgiving and musical in dealing with ambient instruments, noises and room reflections.”

    — James 'Jimmy T' Meslin, Monitor Engineer (Dream Theater)
  • "After years of using other brands switch microphones, I’ve finally got one that always works and sounds great. 0 compromises."

    — Kyle Gerhart, FOH (Scott stapp/Fuel/Lil Durk)
  • — James 'Jimmy T' Meslin, Monitor Engineer (Dream Theater)
  • “Straight away the V7 sounded more like the vocal sound I was trying to achieve. With a lot less EQ’ing, I was able to quickly dial in the sound I needed. "

    — Jamie Skey, FOH Engineer (Mabel)
  • “The first time I heard my own voice through the V7, it was like someone had lifted a blanket off of my mic."

    — Russell Dickerson, Singer
  • "The rejection is amazing. There is much less drum bleed than any of the other mics."

    — Dan Smith, Audio Director - Willow Creek Community Church
  • "Even off-axis pickup of cymbals etc. sounds 'more expensive' and easier to integrate in my mix."

    — Felix Piccu, FOH Engineer (D'Artagnan, Saltatio Mortis, Turisas)
sE artists

Artists putting the V7 SWITCH on the map from studios to stages worldwide.


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.