sE Electronics sE8 omni Small-diaphragm Condenser Microphone - Stereo Pair

Name: sE Electronics sE8 omni Small-diaphragm Condenser Microphone - Stereo Pair
Brand: sE Electronics
Rating: 5 (2 reviews)

Small-diaphragm Omnidirectional Condenser Mic with Gold-sputtered Capsule, 80Hz and 160Hz Highpass Filters, 10dB and 20dB Pads, and Gold-plated XLR - Stereo Pair with Mic Clips, Windscreens, Stereo Bar, and Metal Storage Case

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Item ID: sE8OmniP

sE Electronics sE8 omni Small-diaphragm Condenser Microphone - Stereo Pair

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sE Electronics sE8 omni Small-diaphragm Condenser Microphone - Stereo Pair

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Incredible Stereo Pair Value!

sE Electronics handcrafts the gold-sputtered capsule for its sE8 omni small-diaphragm true condenser mic in the company's own clean room. Compared with other small-capsule condensers in its price range, the capsule's innovative back-plate design delivers a sublimely detailed, balanced sound and superior transient response. The high end is sweet and silky smooth. Go ahead and add high-frequency EQ — you won't introduce harshness or distort the transients. The sE8 omni's short, efficient signal path doesn't employ ICs or transformers, which is key to the mic's remarkably natural performance. And its omnidirectional polar pattern is ideal for orchestras, ensembles, and choirs, along with solo instruments and vocals. The sE8 omni is also one of the quietest mics we've heard here at Sweetwater.

Impressive quality and robust features

sE Electronics not only designed a great-sounding mic but also included features not found on small-diaphragm mics that cost much more! A highpass filter, switchable between 80Hz and 160Hz, lets you roll off unwanted mud and rumble, while 10dB and 20dB attenuation pads increase the mic's impressive usefulness by letting you mic more raucous sources, such as toms, snares, and electric guitar. The sE8 omni's class-leading SPL handling capability and dynamic range ensure that you will capture every nuance of these sources without fear of overload. The high-quality build is typical sE and includes a unique diamond-cut capsule edge and gold-plated XLR connector for optimal signal integrity over many years of daily use in your studio. You'll find endless uses for a stereo pair of sE8 omni microphones — orchestras, ensembles, choirs, and much more.

sE Electronics sE8 omni Features:

Factory-matched pair of versatile high-performance mics for stage and studio
Handcrafted gold-sputtered small-diaphragm capsule
Omnidirectional polar pattern is ideal for orchestras, ensembles, and choirs, along with solo instruments and vocals
80Hz and 160Hz highpass filters let you roll off unwanted mud and rumble
10dB and 20dB pads allow you to mic more raucous sources, such as toms, snares, and electric guitar
Gold-plated XLR connector for optimal signal integrity over many years of daily use in your studio
Includes mic clips, windscreens, stereo bar, and metal storage case

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Tech Specs

Microphone Type: Condenser
Mono/Stereo: Stereo Pair
Polar Pattern: Omnidirectional
Frequency Range: 20Hz-20kHz
Max SPL: 141dB-161dB (with pads)
Output Impedance: 110 ohms
Signal to Noise Ratio: 79 dB
Self Noise: 15 dBA
Low Cut Filter: 80Hz, 160Hz
Pads: -10dB, -20dB
Connector: XLR
Color: Black
Power Source: 48V phantom power
Dimensions: 4.72" x 0.91"
Weight: 4.97 oz.
Manufacturer Part Number: SE8-OMNI-PAIR-U

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Reviews

5.0

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Looked for something with a little less "zip" on the top end (kinder on violins), and at a price that meets my budget. Looked for months ...

The sE Electronics sE8-omnidirectional microphones perfectly "fill the bill". Workmanship is without flaws. Sound is world-class ... smooth and delicious. The bottom end won't quit.

Recording local professional symphony orchestra ... Main array is one AB pair in center (27-inch spacing) and wide flanks, 22 feet apart. Ensemble is 44 feet wide. Neumann KM183s on the woodwinds (a little more "zip"). All main array mics straight ahead and parallel with floor ... height was 10 feet. Distance from mics stands to first row of strings was about 8 feet. All SDC pressure microphones! No LDC! No cardioids! A first for me!

Easily the best recording of this orchestra in this hall!

I'll replenish my cache of Schoeps omnidirectional microphones someday and add more Neumann KM183s ... they look good on a resume and I love them!

All microphones have their place as selective tools. But frankly, these sE8s-omnidirectionals are possibly indistinguishable from the best microphones in performance and construction, at a fraction of the cost.

Thanks to Shelby for the usual amazing service. Sweetwater NEVER FAILS to deliver!

The sE Electronics, sE8/omni microphone is fantastic!

Experimenting with a classical technique for recording a Symphony Orchestra … an ARRAY (not AB with "outriggers") with left and right wide (1/2 width of the ensemble) with a center microphone to balance the middle out in the recording. The wides were 22 feet apart. In this case, I used a "split center", which is an AB pair in the middle, amazingly only 7-10 inches, and facing straight ahead. All microphones were facing straight ahead and parallel to the floor. Space between the musicians and my microphone stands were about 8 feet and the height was set at 10 feet.

A test recording with a center 67cm AB array sounded more interesting, but was discarded as "confusing and soloist unstable".

Splitting the center fill in a "three microphone array" is alway's advisable over a single microphone, as it discourages the intermittent manifestation of an annoying monophonic lump when using a static mix (if you constantly adjust your center fill during rendering, or under mix it's contribution, you can get away with a single microphone … the old Mercury Triad three microphone technique, required gain riding on the fly, as the records were cut).

Anyway, I was looking at four "pressure microphones", shy of investing $ for two pairs of Schoeps, that would yield a smooth, less brittle sound in the violins. Our Music Director forbids me to use my Neumann KM183 up close, because they sound "scratchy and distorted". The 183s are quite good back in the hall, on a Jeckin Disc, for example.

I'd buy omni capsules for my RODE NT5s … but backordered forever. I will, ASAP. I hear they are excellent!

My AKG 414XLS in omni pattern are OK, but seem to have some spurious sounds, possibly from diaphragm breakup. The 414s have to be applied to selected voices/instruments … IMHO, not a good general purpose microphone, especially on strings.

My RODE K2s are fantastic on strings (and almost everything) … but logistically a nightmare doing location recordings, as they are stupid heavy on top of a 10-foot stand and require AC for the power supply.

I listened to all the "shoot-outs" and demos on line, took a leap of faith and ordered two matched pairs of sE8/omni.

The sE8/omni diffuse field EQ bump is not as pronounced as the Neumann KM183s, therefore less scratchy. You can always tilt the microphones up, to kinda fix this, but I choose not.

I may be "full of blueberry muffins" but there is more than the factory curves and specs suggest (if you can believe them) … the sE8 microphones just sound bigger and more musical, to me.

I used the 183s on the winds, and the extra HF "bite" was an advantage.

So, a first for me, since 1969 … just six omnidirectional pressure microphones to record a Symphony Orchestra. No cardioids or figure 8s. No LDCs.

The pieces were the PROKOFIEV Violin Concerto #2 and SHOSTAKOVICH 5th Symphony.

The sE8/omni captured a smooth, delicious timbre in the upper strings and a HUGE, HUGE sound in the winds, lower strings and oversized bass drum.

I'm looking at constructing an "Onno Pipe" for my next microphone array … just to see, although I understand this arrangement needs careful tweaking for each venue.

Thanks to Shelby for always coming through and making it happen!

The sE Electronics sE8/onmi microphones captured all sounds accurately, musically and emotionally. They are capable of more, as music demands increase.

See also: Condenser Mics, sE Electronics, sE Electronics Condenser Microphones