Woodwinds are delicate, and require a microphone that appreciates and translates their delicacy. A poor mic choice can render them thin, nasal, or harsh, but a great mic can make a soloist truly come alive on a recording.

Serious sound at an affordable price.

2200a II

"It has a fairly natural sound but is capable of flattery, insomuch as it adds a little low-end warmth while keeping the highs sounding sweet."

- Paul White, Sound On Sound (full review)


The next step up for clarity and performance.

Voodoo VR2

"The VR mics immediately reveal their extended HF range, especially when placed alongside other ribbon mics. In fact they would stand out less in among a set of condensers." 

- Robbie Stamp, Future Music / Music Radar (full review)


"...just mount up an sE4400a and hit record." 

- Andy Hong, Tape Op (full review)

● ● ●   PRO
The best sound that money can buy.

The RN17

"The RN17 has become my desert island microphone. If there was one microphone I knew I could take with me that would get me out of trouble, it’s this...The clarity and the detail I get is wonderful."

- Simon Franglen, GRAMMY®-winning Composer / Producer / Musician ('Avatar', 'Titanic', 'Skyfall') - sE Artist

The RNR1

"The RNR1 was fantastic. I used it on solo ethnic winds, which can be really tinny and one-dimensional with the wrong mic. But the RNR1 sounded fantastic - three-dimensional and huge. I had to do nothing but light compression in the mix.  No EQ."

- Chris Fogel, Scoring Engineer ('The Wolf of Wall Street', 'The Secret Life of Walter Mitty', 'Old School') - sE Artist




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