3-5 June 2022
Anaheim Convention Center • Southern California

The NAMM Show is the place where professionals and students from the music, sound and live event industries gather to see the latest product launches, network while listening to amazing live music, and attend free professional education.

Join us in Southern California to grow your career while having an unforgettable weekend filled with concerts, celebrities and likeminded friends.

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The post Review: SE Electronics RN17 appeared first on AudioTechnology.

When they’re bundled together, do the X1 and RF make good bedfellows?

Text: James Wilkinson

sE Electronics hails from Shanghai, China, where it produces a range of microphones and accessories. Not content with simply reproducing established designs, sE has recently come up with some innovative ideas [see the sE Gemini III review last issue, and the RNR1 ribbon review back in Issue 68], with a range of microphones that encompass both budget and more exotic ends of the market. In recent times we’ve been blessed with cheap and increasingly well-made audio imports, of which sE Electronics has been a successful player. It’s easy to forget it wasn’t so long ago that the level of choice and quality available was markedly different. ‘Budget’ had a different meaning back then… so is this ‘budget’ bundle from sE any good?
The sE X1 Project Studio Reflexion Filter Bundle unites a large diaphragm condenser microphone and Reflexion Filter as a pair. Inside the box you’ll find the X1, sE’s entry-level large diaphragm microphone, and the Project Studio Reflexion Filter (RF), which is the little sister of the successful RF Pro.

THE MIC

The specifications of the X1 are good, even though it’s a budget microphone. The 16dB (A-weighted) equivalent noise level and maximum SPL of 125dB means it’s quiet enough and dynamic enough for a variety of applications from vocals and guitars to percussion.
Switches on the microphone include a –10dB pad and a low shelving filter set amongst a pleasant rubberised black finish that covers the microphone’s exterior. Being a condenser, the X1 runs on 48V phantom power, which feeds the transformerless FET electronics from an XLR cable. Perched on top of all this is the hand-made diaphragm, protected from harm by a black metal grille.
Sadly, there’s no suspension mount supplied in the package, although one is available separately. Arguably suspension mounts are an essential part of any good mic setup because they act to reduce transference of low frequencies through the microphone stand. In use, when I tightened up the X1’s microphone clip it sheared the thread ring, effectively making the clip useless, reinforcing the idea that a suspension mount would have been a better option, even if it marginally increased the cost.
Sonically, the sE X1 is quite neutral in the mid to low end, with its on-axis specs portraying a flat frequency response between 20Hz and 2kHz. Above this, however, the response curve rises to a 3.5dB peak at around 12kHz. Consequently the mic sounds bright; too bright for some vocals, although this ‘air’ certainly helps bring clarity to dull sources like double bass and nylon acoustic guitar. With any microphone purchase specifically intended for vocals, particularly if that voice is your own, it’s always essential to listen to it first to see if the mic suits.
Using the X1 for backing vocals in a room from about two metres away failed to impress. With distance, the brightness of the microphone sounded more unbalanced and the overall character was thin and unflattering. Conversely, up close on the same male vocal and taking advantage of proximity effect, the mic performed well, adding cut to his sound, effectively helping to bring his voice forward in the mix.

PAUSE FOR REFLECTION

The real asset in this bundle is the Reflexion Filter. Given the vast majority of interiors we record in are less than complimentary, control over how much acoustic reflection makes it into your microphone is a powerful asset. The filter works to not only reduce the amount of ambient reflections being captured by the microphone, it also absorbs sound from the source, reducing those frequencies that would otherwise return to the microphone as reflected sound.
Anyone who’s ever recorded and tried to dampen or treat the acoustics of a room because it sounds Simply Horrible In Tone (you figure out the acronym) knows that it’s no easy task. I’ve used blankets, doonas, pillows and foam, either draped, wedged or taped to microphone or music stands, walls, doors, ceilings and anything else. Using sE’s Reflexion Filter doesn’t make improvised dampening obsolete, but it certainly makes controlling the great majority of unwanted reflections easy. Choosing how much or little of the acoustic environment you want in your recording simply involves moving the microphone forwards or backwards into the concave embrace of the filter… fantastic.
The filter is constructed from acoustic foam set on a concave, perforated metal backing. The mount itself is designed to grip the top of a microphone stand with the filter and microphone sitting in front of the thread where you’d normally fix your microphone. This can make the setup a little front heavy and you need to be careful to get the right balance. There are other ways to go about it of course, and mounting the filter and microphone on separate stands is a good alternative approach. Placing the filter above a sound source to stop reflections from a low ceiling also worked well. Above a kick drum mic it warded off cymbal spill, and in a live recording situation, mounting it low to the ground behind a guitar cabinet microphone worked a treat. Suffice to say the filter’s potential uses are vast.
What’s not to like? The Reflexion Filter doesn’t run on batteries, it’s a good portable size, it’s well made and, provided you look after it, it should be around to filter high frequencies longer than you’ll be able to hear them!

sELLING ITsELF?

The sE X1 is a fine microphone for those starting out or challenged by budget and the Reflexion Filter in particular is a real winner. Whether your budget is large or small, and whether you’re recording in your bedroom or a million dollar facility, the Reflexion Filter can dramatically influence the sound of your recording.

The post sE ELECTRONICS X1 BUNDLE appeared first on AudioTechnology.

If you still think all Chinese mics are ‘crap’ and walk around with a chip on your shoulder about it, now might be a good time to brush it off.

Text: Mark Woods

A few years ago I bought an sE Electronics Z3300A large diaphragm, multi-pattern microphone on eBay. I hadn’t heard one before but I liked the story of Siwei Zou; the Chinese oboe player/composer/conductor/studio-owner/businessman who spent time in the US before deciding to make export-quality microphones in a small factory in Shanghai. I’d read that sE mics were completely hand assembled to exacting tolerances with camera-style puffer brushes for dust control and a listening test for every mic before it left the factory. That’s how I want my microphones to be made, so I took a chance and bought one on spec. The Z3300A was great; as well as sending a present and sparkly sound into the control room, its physical presence was big and impressive for the customers to look at. It’s still in regular use at my studio as a general-purpose mic today and often gets first crack at breathy female vocals and stringed instrument overdubs.

In early 2009 I don’t think it’s overstating it to say that sE Electronics is a hit brand, not only for the design and quality of its microphones, but also thanks to the surprise success of its increasingly popular Reflexion Filter (which is designed to minimise the sometimes less than sympathetic room reflections of your recording booth/front bedroom). The 2009 release of a new range of mics developed in collaboration with Rupert Neve will no doubt only add to the company’s credibility. But without further ado, let’s get to the sE mic under scrutiny here…

The recently released one-inch dual-diaphragm, multi-pattern sE Electronics 4400A was developed – without Mr. Neve’s involvement – as a mid-level all-rounder suitable for professional or personal recording. According to sE, over a year was spent testing the mic in studios and with broadcasters before settling on the final capsule tuning. The supplied statistics of the finished product quote the boundaries of the 4400a’s frequency response as being 20Hz and 20kHz (no surprises there), with a maximum SPL of 130dB (at 0.5% THD) and a quiet 17dB equivalent noise level.

Previous sE large-diaphragm mics had a distinct family look: modern design, big bodies to house the large diaphragm condensers, matte silver colour schemes and big shockmounts. Not so the 4400a. Out of the case, this thin, light, surprisingly small AKG C-414-styled microphone is well and truly the black sheep of the family. The body is moulded; a first for sE, which previously used metal-tube based designs. It’s very black, with a rubberised non-reflective finish that feels good to the touch and keeps the mic unobtrusive, especially under lights. On the front, and easy to see, are four of the common short-stemmed switches for the various microphone controls. These include two pads: either –10dB or –20dB and two high-pass filters rolling out bottom end from either 60Hz or 120Hz. Pattern switching is between omni, figure eight, cardioid or super cardioid.

The supplied case of the 4400a is quite large and strong enough to protect the mic from even the roughest treatment – although I never actually dropped the mic out of a moving car to prove this theory… The shockmount is almost too clever in its design, allowing the mic to be placed either inside the mount for normal use or outside the mount for close use and/or accessing tight spaces. It can also protrude from the mount and swivel around so it can be used inside a bass drum, hidden among percussion or flat on toms, although I’m not sure I’d use it on toms – in all likelihood it would sound great, but it only takes one hit from a drum stick to make a mess of a nice condenser microphone.

FLYING OVERHEAD

Overheads are usually safe, though, and my first test of the sE 4400a was above the drum kit for a live band. Like most large-diaphragm condensers, the 4400a isn’t really designed as a live mic but for me it’s a good way of getting a first impression of a microphone’s overall performance. Placed fairly high above the drummer’s head, the 4400a provided a clear view of the whole kit with bright cymbals and plenty of body from the toms. It was also used on percussion with Slava Grigoryan and the Band of Brothers when I mixed them live recently, and here the 4400a contributed nicely to the performance with a sound that was detailed, appealing and dynamically accurate.

From hearing it live I knew the 4400a would sound good in the studio. In comparison with my usual large-diaphragm condenser mics, all of which were initially set to cardioid, the sE 4400a displayed a smooth high-midrange with lots of presence above 5kHz but very little noticeable harshness. The low-mids were surprisingly strong offering a valve-mic style richness to the sound. Down low, the mic produces the usual proximity effect but the 120Hz roll-off does a good job of controlling this if required. Plosives on the 4400a meanwhile are easy to induce and a pop shield is definitely requisite equipment for any close vocal performances.

Moving around the mic I was particularly impressed by the off-axis response in the sE’s cardioid patterns. The response is even across the front of the mic and then drops off in level, maintaining a pleasing quality all the way to the rear. The omni-directional polar pattern gives a different presence to the sound; it’s airy compared to a cardioid setup (as omnis so often are) but still remains close and very natural sounding. In the figure-eight position the mic displayed strong rejection at 90 degrees with tight and uncompromised pick-up lobes. The response from the front was slightly different to the back though, and in a listening test it was fairly easy to identify the source side of the mic.
Recording tests started with drums. Here the 4400a’s brightness, combined with its off-axis response, produced great results initially above a kit and later on as a room mic. It didn’t seem to mind the volume in close proximity to the skin drums either – provided the –20dB pad was switched in – and in this position the 4400a delivered a big fat snare sound. I tried it on a kick drum, and yes, it will fit right inside the drum through a normal-sized hole in the skin. Again, the –20dB pad was required to prevent overloading but the sound was good – accurate, and providing plenty of depth with minimal boom.

NOT VERY ‘SE’

By now I was convinced of the 4400’s overall ability and started using it on everything I could, looking forward to how it would sound. Acoustic guitars sounded open and true and I’m sure it would work well on other stringed instruments – I was hoping someone would bring in a banjo to a session while I had my hands on the mic, but alas… Vocals were a pleasure too; the 4400a’s combination of body and smooth top end worked well on both male and female vocals. There’s plenty of rich low-mids for the blokes but it’s bright and airy when required, without ever exacerbating sibilance. It doesn’t start to bite with harshness on the louder moments of a performance either, and all the finished vocals I recorded with the 4400a sat clearly in their requisite mixes without needing EQ.
Although my focus is on sound reinforcement and music recording, I can also see this mic becoming popular for film, theatre and TV applications. The sE 4400a is designed to work well under the glare of lights and its positioning flexibility, small size and excellent off-axis response would no doubt help to deliver great results when used for production or location recording.

GREAT EXPECTATIONS

Some mics you use because you want the sound you expect they will deliver. Others you use to find out what sound they will give you. The sE 4400a is one of the latter; it’s accurate but also flattering… and these are both valuable attributes. If you only had the proverbial one microphone in your drawer you’d be fine with the sE 4400a. If you were allowed two mics in the drawer they’re also available in matched stereo pairs with an optional stereo bar mount! As you may have already guessed, I’ve been very impressed with the sE 4400a – well worthy of serious consideration for anyone looking to buy a solid performer.

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Times certainly are interesting when a microphone from China forces a perceptual realignment…

Text: Greg Simmons

When Andy Stewart asked me to review a ribbon microphone from China, I heard the key words ‘ribbon’ and ‘China’ and my thoughts immediately turned to Zhang Ziyi’s mesmerising ribbon dance from House of Flying Daggers [as you do – Ed.]. Superbly staged, performed, shot and directed, it’s one of the great moments of cinema. It’s also a stunning example of the craftsmanship that Chinese artisans are capable of; which is more than I’ve been able to say for their microphones.

The market is infested with cheap Chinese condenser microphones, most hiding behind Western names and classic European styling. I’ve auditioned many while helping project studio owners choose the best equipment for their budgets, and, frankly, I haven’t had a kind word to say about them. I’ve even exercised a personal policy of not reviewing any Chinese condenser microphones because there’s no point in promoting poorly designed and manufactured goods. However, I hadn’t auditioned anything from SE Electronics and so I approached the R1 with a mixture of open-minded curiosity and cynical apprehension.

The R1 initially piqued my interest for two reasons. Firstly, being a passive device meant it wouldn’t contain any electronic circuitry beyond a transformer. Secondly, a ribbon microphone doesn’t have the condenser microphone’s inherent high frequency capsule resonance. In other words, the two things that characterise the bright and harsh sound of Chinese condenser mics – tin-eared electronic circuit design and poorly-managed capsule resonance – would not apply to the R1. Hmmm… was I about to undergo a perceptual re-alignment? There was only one way to find out. Ordering my cynicism to sit and stay, I opened the box…

Inside was an aluminium case with a footprint of almost identical size to the page you’re reading now, containing the microphone and shockmount. The first thing that struck me about both components was the reassuring quality of construction – no protruding lopsided screw heads, no mismatched joints, and no blemishes in the finish.

If you look at the picture of the R1 accompanying this review, you’ll notice the mic has a cylindrical design, reminiscent of Bang & Olufsen’s BM-series ribbon microphones (which also influenced Royer’s designs), rather than the chunkier RCA and Coles designs. It is heavier than it looks, suggesting a powerful magnet and/or a rather large transformer mounted in the base. The shockmount is also very good; all-metal construction with decent elastic suspension instead of the throwaway rubber bands found on cheaper products – just what you’d expect for a mic of this weight. The bottom half of the R1 slips snugly into the felt-lined receptacle and, after screwing on the locking ring, is held firm and secure. Very reassuring, but what does it sound like?

RIBBONS IN YOUR AIR

I believe that the most helpful reviews compare the product in question against known industry standards and also against established competitors. So for the first test I put the R1 against the industry-standard Neumann U87 condenser mic (in bi-directional polar response), running both into my Nagra V and gain-matching them as closely as possible. Then I gave them quite a thrashing in the service of some challenging metallic and organic instruments from Tibet, including harmonically-matched singing bowls, pure and delicate tingsha bells, rowdy and nasally double-reed shawms, deep bellowing ceremonial horns, the wailing kangling (made from a human thighbone… it doesn’t get more organic than that!), and the angry neighbour banging on the wall (whom I’ve granted Tibetan citizenship for the purposes of this review). In all cases the R1’s sound was duller and had less air than the U87 (as expected from a ribbon), but was more natural and warm overall, and preferable throughout the low and mid ranges. A touch of high frequency Baxandall (shelving) EQ, courtesy of a linear phase EQ plug-in, took care of the dullness, bringing back the missing air and resulting in some very appealing and ‘finished’ sounds from these challenging instruments.

For the comparative test I put the R1 against an established competitor: Royer’s R121. Both are passive ribbon microphones and, judging by their physical dimensions, I assume they share similar ribbons and magnetic circuits (notwithstanding any proprietary tricks the manufacturers may have up their sleeve). For these tests I used some traditional Western instruments including a DW drumkit, a vintage Les Paul through a Marshall head and quad box, and a decrepit and toothless baby grand piano that has yet again prolonged its miserable life by proving its worth for microphone reviews.

I positioned the microphones side by side on a stereo bar, placing them as close together as possible without touching. Being of relatively small-diameter tubular construction and with bi-directional polar responses (meaning each microphone was placed in the other’s side null), I doubt there were any significant interference problems due to reflections off one mic’s body into the other.

Both microphones required approximately the same gain to match levels, meaning the R1 has similar sensitivity to the R121. Some reviewers may disagree with the following, but in this gain-matched and position-matched situation I found the two microphones to sound remarkably similar. The SE ribbon had more high and low frequency extension than the Royer, but with a less prominent and slightly muddled upper midrange reminiscent of a big old vintage Beyer ribbon I used to own. (In my experience, most ribbon mics have a ‘muddled’ bandwidth somewhere in their audible frequency response, which I believe is predominantly due to the internal transformer and its interaction with the input impedance of the microphone preamplifier in use. Therefore it is possible that another reviewer, using a different type of preamp to the solid-state type found in my Nagra V, may hear something different. I’d be keen to hear the R1 through AEA’s TRP, which is specifically built for ribbon microphones.)

The R1’s extended response gave it a bigger and fuller sound than the R121 when close-miking power chords through a quad box or capturing a drumkit from 1.5m, but the R121’s upper midrange prominence and clarity was preferable for complex detailed work such as grand piano and plucked electric guitar.

CUT TO THE RIBBON

The R1 is an overall good performer that can add a touch of vintage ribbon ‘bigness’ to a recording. I would happily use it for recording power chords from an electric guitar, for a room mic or overhead on a drum kit, for close-miking percussion and brass, or even to tame a shrill vocalist. I’d be hesitant to use it for tonally complex sounds that require a lot of resolution to avoid sounding like mush, such as woodwinds, grand pianos, string quartets or choral ensembles. Each of these can sound wonderful when recorded with ribbon microphones, but there are more appropriate products on the market; the R1 will be more at home in the multitrack rock/pop studio than in the scoring stage or concert hall.

As with all ribbon microphones, the R1 may be perceived as being dull in comparison to a condenser mic (especially if thoughtlessly compared with one of the many budget condenser mics on the market that are too bright and harsh anyway). But, like all ribbon microphones, the R1’s resonant frequency sits at the bottom of its frequency response, meaning you can apply considerable amounts of EQ to brighten it up without running into any harshness or glare. Furthermore, with linear phase algorithms the old purist dictum ‘EQ is evil’ becomes less relevant – it is always best to get the sound you want through microphone choice and positioning, but with linear phase EQ at hand I would never let the relative dullness of a ribbon microphone prevent me from taking advantage of its sweet midrange and lush bottom end.

The R1 is well built, feels solid and reassuring, and offers all the sonic characteristics of a ribbon microphone at an affordable price. Perhaps I’m a particularly dim Simmons, but I really can’t find cause to be critical of this ribbon microphone from China. Maybe it’s time for some perceptual Feng Shui?

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