X1 A

It could be your first mic, but it's one you'll want to keep forever

When it was introduced in 2010, the X1 brought a new level of quality to its price point, competing easily with microphones costing several times as much. But that didn't stop sE from trying to outdo themselves again.

X1 A

The one mic you'll want to keep forever

When it was introduced in 2010, the X1 brought a new level of quality to its price point, competing easily with microphones costing several times as much. But that didn't stop sE from trying to outdo themselves again.

Recommended Use

Vocals, drum kit, OH, room, acoustic guitar, electric guitar cab, orchestral + strings, piano, woodwinds, brass

Newly-developed condenser capsule with the same rugged metal chassis of the X1 SERIES
First-class sound & specifications at an even better "home studio" cost
Extremely natural frequency response, massive SPL-handling capabilities (150dB!)
Switchable attenuation and low-cut filters, with a perfectly balanced sensitivity level
100 Hz bass-cut filter and -20 dB attenuation pad

Inside the X1 A

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    The X1 A’s new condenser capsule design is a work of art that delivers stellar sonic performance on any source with incredible speed, accuracy, and well-balanced frequency response. A whole new entry level development built for engineers and artists alike with the best price & performance ratio on the market.

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    The -20 dB pad switch on the left provides extended dynamic range, enabling a wide range of applications and close-mic techniques for even the loudest instruments…think super-heavy electric guitars, fortissimo brass instruments, and heavy-footed kick drums. On the right, the 100 Hz low-cut switch helps eliminate low-frequency rumble or footfall noise, and compensates for excessive bass with close-mic techniques (proximity effect).

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    Eliminates the need for an external pop filter, and provides an extra layer of safety and security in addition to its gold-plated XLR connector for loss-free, reliable signal connection.

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    Unlike the cheaply constructed bodies of some other “entry-level” microphones, the X1 A’s all-metal chassis provides efficient rejection of any electrical interference and noise – and the high-quality finish ensures a great look for years to come.


Capsule 2 / 3" Back-electret Condenser
Electrical impedance <50 Ohms
Recommended load impedance >1k Ohms
Connectivity 3-pin male XLR connector
Powering 48V Phantom Power (P48 according to IEC 61938)
Polar patterns Cardioid
Frequency range 20 Hz - 20 kHz
Sensitivity 20 mV / Pa (-34 dBV)
Max SPL 130 / 150 dB (0 / 20 dB pad, (0.5% THD @ 1kHz)
Equivalent noise level 16 dB
Dynamic range 114 / 134 dB (0 / 20 dB attenuation pad)
Signal to noise ratio 78 dB
Low-cut filter 100 Hz, 6 dB / Oct, switchable
Attenuation pad 20 dB, switchable
Current consumption 4.0 mA
Mic Diameter 58 mm (2.28 in.)
Mic length 169 mm (6.65 in.)
Mic weight 390 g (13.76 oz.)
What's in the box
X1 A microphone
swivel mic clip
mic stand thread adapter


User Manual
  • "The mic sounds transparent...realistic...calm, definitely not the hyped sound that is common for the price tag."

    — Musicmaker.nl, July 2017
  • "The microphone feels solid because of the metal chassis...I was pleasantly surprised that the mic has a low-cut filter. Some more expensive mics don't have that feature."

    — Musicmaker.nl, July 2017
  • "Handles high SPL without any problems...even snare drums cause no issues...and the built-in pop filter performs nicely."

    — Musicmaker.nl, July 2017
  • "Whisper test is no problem at all. The 's' sounds are not hyped, and that is a plus when recording."

    — Musicmaker.nl, July 2017
  • "With the sE Electronics X1 A an all-rounder appears on the stage of favorite condenser microphones, which can convince all around."

    — Carsten Kaiser, Bonedo.de, January 2017
  • "...I can hardly find a flaw on this microphone. The X1 A can convince you of its balanced frequency response, rich bass, unobtrusive yet present mids, as well as gentle highs, features such as high-pass filter and pad, right up to the fantastic presentation of the microphone."

    — Carsten Kaiser, Bonedo.de, January 2017
  • "In particular, the X1 A worked well on fingerpicked acoustic guitar, where the detail and focus of the X1 A worked perfectly with the already fairly bright nature of our dreadnought guitar."

    — Mike Hillier, MusicTech Magazine March 2017
  • "It can be very easy to be snobby and make negative assumptions about inexpensive microphones, and the X1 range has done an excellent job of deflecting that criticism with some exceptional qualities at absurdly low prices."

    — Mike Hillier, MusicTech Magazine March 2017
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.