A passive ribbon to bring out the bite and edge from your guitar cabs with no muddy highs
Hand-tensioned ribbon constructed by our highly specialized technicians in sE's capsule room
Full frequency response using technology designed by Siwei Zou, sE's CEO
All-metal housing and gold plated XLR connector
A secret weapon for top musicians and engineers worldwide
Inside the VR1
A NEW ERA FOR RIBBON MIC TECHNOLOGY
Until the VR Series, the only ribbon mic in the world to perform across 20Hz-20kHz was our own Rupert Neve collaboration, the RNR1. This was achieved using state-of-the-art custom transformers and a Rupert Neve-designed circuit to reveal HF usually absent.
A PASSIVE RIBBON WITH FULL FREQUENCY RESPONSE
With the VR mics, full frequency response is achieved using a clever mechanical device designed by Siwei Zou, the company CEO, and a hand-tensioned ribbon constructed by our highly specialized technicians in sE’s capsule room.
ALL-METAL HOUSING & PREMIUM FINISH
Unlike the cheaply constructed bodies of some other affordable microphones, the VR1’s all-metal housing provides efficient rejection of any electrical interference and noise – and the high-quality finish ensures a great look for years to come.
Unlike the cheaply constructed bodies of some other affordable microphones, the VR2’s all-metal housing provides efficient rejection of any electrical interference and noise. A gold-plated XLR connector and premium finish ensures a great look & reliable connectivity for years.
Inside the VR Shockmount
CUSTOM SHOCKMOUNT + CHASSIS
The flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4″ thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.
HERE’S WHAT TapeOp HAS TO SAY ABOUT IT:
“I don’t think I’ve ever started a mic review by introducing the accessories first. But given the innovative design of the shockmount included…I can’t help but get that out of the way so I can then move on to telling you what a great buy the mic itself is.”
— Jack Douglas, Producer / Engineer (Aerosmith, John Lennon)
"The VR1 is a fantastic ribbon. I used it this year on everything from sousaphone in New Orleans with Metric to electric guitar cabinets and drums at Electric Lady with The Kills. It's extremely true to the sound source and could handle the SPL’s of a rocket engine!"
— John O'Mahony, Mixer / Producer (Vance Joy, Sarah Bareilles, Coldplay, Metric) - sE Artist
"The Goldilocks ribbon. Not too dark, not condenser bright, just right. I've loved it on lead vocal, violin, drum overhead, guitar cabs, and even in a spaced pair on renaissance lute. No source has been too loud or too quiet."
— - Josh Turner, Singer / Arranger / Multi-Instrumentalist / Engineer - sE Artist
"The mics are absolutely incredible. We use the VR1s every night, one on each combo...our front of house man, Derick, was just blown away. Not to mention the compliments I received during the tour after the shows."
— Adam Lazzara, Singer (Taking Back Sunday)
“I initially chose the VR ribbon mics for their size and price point...I love the added air at the top end; they deliver more high-end than traditional ribbons. The drum sounds have become very open and natural, and cymbals no longer hurt."
— Ryan Pickett, FOH (My Morning Jacket)
"I also find myself using less EQ on the overhead channel strip. And the VRs are also low profile enough to allow me to get the right proximity without blocking the audience or drummer’s sight lines.”
— Ryan Pickett, FOH (My Morning Jacket)
"These microphones are giving back a real natural sound, that's why I am using them...the VR2 on soprano sax is a real killer - it lets the instrument sound like what it is."
"Fantastic guitar microphone! It captures the true sound of the amp in the room, without any additional color added. Smooth mid-range with no additional EQ needed. I used it on the 'Guitars For Wounded Warriors' release featuring my friends Billy Sheehan, Steve Morse, Gary Hoey, Chris Poland, Hal Lindes and Bumblefoot."
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.
Many sE microphones come with their own shockmount, with a few exceptions. If you have an X1 Series mic (X1 S, X1 T, X1 USB, X1 R) or Magneto microphone, the Isolation Pack will work perfectly for you. If you need a replacement shockmount for any of our other microphones, please fill out our Support Request form.
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.
All of our passive ribbon mics are phantom-protected, so they will not be damaged by phantom power. With that said, we don’t recommend using phantom power unless necessary – but your mic will be fine either way, not to worry.
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.
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.