The sE7 is a high-quality back-electret small diaphragm condenser microphone intended for a wide range of studio and live sound applications, from acoustic guitars to pianos to drums and beyond.

With an optimized acoustic design, discrete class-A circuitry and a transformerless output, it delivers clear, natural sound quality at all frequencies, without suffering from fizzy highs or a lack of low-frequency punch.

The discrete electronics and the switchable attenuation pad ensure a high dynamic range, with high sound pressure level (SPL) handling capability and extremely low-noise components. The switchable low-cut filter helps eliminate rumble or footfall noise, and can also compensate for an excess of bass frequencies caused by the proximity effect. This enables the sE7 to close-mic many instruments including electric guitar speaker cabinets, brass instruments and drums.

Reliable operation even in demanding on-stage applications in difficult environments is ensured by the roadworthy all-metal design, robust construction, and high-quality manufacturing standards

HIGH-QUALITY  CONDENSER CAPSULE

The sE7’s specialized capsule is designed for natural, balanced sound quality, with an ultra-thin diaphragm for excellent transient response. Its cardioid polar pattern also makes it ideal for most studio or stage applications, delivering great sound for almost any source.

THE QUIETEST PENCIL MIC IN ITS CLASS

With a very short signal path and state of the art electronics, the sE7 is the quietest microphone in its class. The transformerless design ensures pristine sound quality, reproducing instruments with excellent clarity and depth.

SWITCHABLE PRE-ATTENUATION PAD

The switchable -20dB attenuation pad prevents overloading your preamp or mixer and provides extended dynamic range, enabling close-mic techniques for even the loudest sources like brass instruments and snare drums.

SWITCHABLE LOW-CUT FILTER

The integrated 80Hz low-cut filter helps to eliminate low-frequency rumble or footfall noise, or to compensate for excessive bass (proximity effect) with close-mic techniques.