X1 R

A rugged ribbon for any purpose

The second addition to the X1 Series, the X1 R brings the magic of traditional ribbon mics into the modern age with a tough construction that can handle any SPL. This is a ribbon you can take on the road. The sE Electronics X1 R is suited to a variety of recording applications, including guitar cabs, overhead drums, brass, woodwind, strings, commercial broadcast and voice-over.

X1 R

A RUGGED RIBBON FOR ANY PURPOSE

The second addition to the X1 Series, the X1 R brings the magic of traditional ribbon mics into the modern age with a tough construction that can handle any SPL. This is a ribbon you can take on the road. The sE Electronics X1 R is suited to a variety of recording applications, including guitar cabs, overhead drums, brass, woodwind, strings, commercial broadcast and voice-over.

Recommended Use

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

Highlights
State of the art ribbon element enclosed by top-grade Neodymium magnets
Classic sounding ribbon mic with a gentle HF lift and high SPL handling
Integrated HF (High Frequency) extension technology found in the VR1/VR2 ribbon microphones
All-metal housing and gold plated XLR connector















Inside the X1 R

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    VINTAGE SOUND WITH MODERN BUILD

    Drawing on some of the technologies in our VR1 & VR2 ribbon mics, the X1 R is a vintage-modern hybrid that provides all the inherent smoothness of a hand-crafted ribbon mic, but with more versatility, durability, and ease of use than the delicate ribbons of yesteryear.

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    REVOLUTIONARY RIBBON ELEMENT

    The X1 R is a combination of our traditional ribbon technology and some of the mechanical elements of our VR1/VR2 series extended HF (High Frequency) ribbon technology to bring you a classic sounding microphone with a gentle HF lift.

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    HIGH SPL FOR MORE THAN VOCALS

    This is a ribbon you can take on the road. The sE Electronics X1 R’s high SPL is suited to a variety of recording applications including guitar cabs, overhead drums, brass, woodwind, strings, commercial broadcast and voice-over.

  • X1-R-Image-Map-2-aspect-ratio-545-390

    ALL-METAL HOUSING & PREMIUM FINISH

    Unlike the cheaply constructed bodies of some other affordable microphones, the X1 R’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.

Specs

Components
Transducer Hand-crafted 2.5 µm aluminum ribbon
Power
Electrical impedance 200 Ohms
Connectivity 3-pin male XLR connector
Powering N/A (phantom-protected)
Sound
Polar patterns Figure-8
Frequency range 20 Hz - 16 kHz
Sensitivity 1.8 mV / Pa (-55 dBV)
Max SPL 135 dB (0.5% THD @ 1kHz)
Equivalent noise level 23 dB
Signal to noise ratio 71 dB
Electronics Passive
Dimensions
Mic weight 510g / 17.99oz
What's in the box
X1 R microphone
swivel mic clip
mic stand thread adapter

Downloads

User Manual
  • "Right away I found that what it delivered was actually rather more useful than what I've got out of many other ribbon mics I've tried."

    — Paul White, Sound On Sound (full review)
  • "I rarely use ribbons without a second brighter mic, but the X1R would have done fine as a single mic, particularly in a busy mix.”

    — Scott Evans, Tape Op Magazine, Jul/Aug 2014
  • ”And the X1 R ruled on bass! It produced huge low end, solid articulate highs, and not much in the mids — but it sounded cool.”

    — Scott Evans, Tape Op Magazine, Jul/Aug 2014
  • "The sE X1 R looks cool, the build quality is impressive and it does everything you could expect from a microphone of this type. It also comes closer to the traditional fat-and-treble-attenuated tone of old-skool ribbon mics than some of SE’s more cutting-edge ribbon designs."

    — MusicTech Magazine
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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 shockmount should I get for my microphone?

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.

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.

I have one of your passive ribbon mics (VR1, X1 R), which does not require phantom power - but I can't turn off the +48V phantom power on my interface/preamp. Will this damage my ribbon mic?

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.

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.

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.