The V7 is built to perform - and built to last

Reliable, rugged & roadworthy meets lush, vibrant & musical. Connect with your audience in a whole new way.



Reliable, rugged & roadworthy meets lush, vibrant & musical. Connect with your audience in a whole new way.

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
All-metal housing and beveled spring steel grille
Specialized supercardioid aluminum voice coil
Patented integrated shockmount
Switchable internal windscreen

Inside the V7

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    The DMC7 dynamic capsule in the V7 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.

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    The V7’s innovative, patented shockmount efficiently decouples the capsule from mechanical vibration, providing exceptionally low handling noise as compared to other capsules 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.

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    The V7’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 its beveled edge around the grille prevents your mic from rolling when you put it down on top of your amp or the stage floor – so simple, yet so effective.

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    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. The V7’s gold-plated XLR connector ensures a loss-free and reliable signal connection for years to come.

Inside the Mic 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’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 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
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 305 g (10.76 oz.)
What's in the box
V7 microphone
mic clip
thread adapter
black internal windscreen
carrying pouch


User Manual
  • "We love our sE capsules. They work fantastic with Big Sean for his dynamic changes from rapping to singing!"

    — Luis “Lou” Rodriguez, Monitor Engineer (Big Sean)
  • “We took a listen, did a comparison, and that was an awesome thing. It rejected better and it sounded more like Justin’s voice when we handed it over to him."

    — Andy Meyer, FOH Engineer (Justin Timberlake, Madonna, Guns N’ Roses, Rage Against The Machine) - sE Artist
  • "We are totally in love with these V7's. It works perfectly with Common’s voice and style!"

    — Tim Hibbert, Monitor Engineer (Common)
  • “The V7 was by far the most stable capsule I have ever used even in front of a PA!"

    — Jeremy du Bois, PM / FOH (Nick Carter, Trey Songz, Iggy Azalea)
  • "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)
  • "From falsetto to full voice it was all there. These are a game changer!”

    — 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 it.”

    — Luis “Lou” Rodriguez, Monitor Engineer (Big Sean)
  • "Hand-down best wireless vocal sound we’ve ever had. The even sound across the frequency range has made it my go-to capsule on the Axient system."

    — Alexander Archer, VEVO DSCVR - sE Artist
  • "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
  • "The smoothness in the lows and lack of problematic proximity effect teamed with no harshness in upper mids."

    — Alexander Archer, VEVO DSCVR - sE Artist
  • "..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
  • "They gives a sound comparable to a studio recording made with an LDC but with all the convenience of a wireless handheld…”

    — Alexander Archer, VEVO DSCVR - sE Artist
  • "‘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
  • "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
  • "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
  • "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 really allows me to keep Tommy’s vocal up front in the mix, whether he is going from singing to screaming or anything in between."

    — 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)
  • “The V7 is an unbeatable value. During rehearsals with Dream Theater, we had four different capsules to test drive with singer, James Labrie. The decision was easy and unanimous as to which capsule sounded best, so we went ahead and bought four V7's that day."

    — James 'Jimmy T' Meslin, Monitor Engineer (Dream Theater)
  • "The tone of the capsule feels extremely natural, giving you loads of body and clarity before reaching for an EQ."

    — James 'Jimmy T' Meslin, Monitor Engineer (Dream Theater)
  • "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)
  • — James 'Jimmy T' Meslin, Monitor Engineer (Dream Theater)
  • "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
  • “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 (Billie Eilish)
  • "The capsule 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)
  • "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
  • “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)
  • "I was a bit skeptical trying out a new capsule at such a large show (02 Arena London) but it sounded great."

    — Jamie Skey, FOH Engineer (Mabel)
  • "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)
  • “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
  • "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
  • "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
  • "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
  • "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 first time I heard the mic, it 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 rejection is amazing. There is much less drum bleed than any of the other mics."

    — Dan Smith, Audio Director - Willow Creek Community Church
  • "I was quite skeptical about testing a new lead vocal capsule in a working setup. But the V7 blew me away regarding clarity in the highs and a tight, cleaned up low-end."

    — Felix Piccu, FOH Engineer (D'Artagnan, Saltatio Mortis, Turisas)
  • "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)
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.

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.