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Sound-Guy Reviews the DM1 on Gearslutz

One of the excellent writers for Gearslutz.com recently wrote an absolutely amazing review of the DM1 - not just because it’s complimentary (though we do enjoy that), but mostly due to the level of depth and thoughtfulness involved.

We received permission to share some of it here, but you should definitely click through and read the whole thing if you have a little more time! There are a lot more in-depth measurements and technical explanations in the original review, and it’s really fascinating stuff.


Excerpts reprinted with kind permission from Gearslutz.com

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sE Electronics Dynamite - Active Inline Preamp

by: Sound-Guy (Dennis Wilkins)

“Although I haven’t been recording in live venues for years, the idea of a phantom powered preamp for dynamic and ribbon mics in my studio has been tempting. In fact, I thought of building a simple inline module a few years ago, but didn’t get around to it before Cloud Microphones introduced the Cloudlifter, which, when you think of it, is a rather obvious idea. Condenser mics always have an onboard amp/impedance converter, and dynamic mics, including ribbons, with their very low outputs, typically 20-25 dB lower than condenser mics, are usually expected to work directly connected to a preamp. This can require the preamp to be run near its maximum gain which often creates a few problems. First, with some “more affordable” preamps the highest setting may bring up considerable analog hiss and digital noise. Second, the frequency response of many preamps rolls off at the highest gain setting, dropping up to several dB at 20 Hz and 20 kHz. And third, the gain control of many preamps has low resolution in the last 10% or so of the control range, making it difficult to set it near the maximum setting.”

“And anyone needing to feed a dynamic mic signal over a long cable, and possibly in a venue with lots of electrical interference should really benefit if the unit does what it claims. Even with the very best preamp, any hum and noise picked up by a cable will be amplified, so increasing the mic signal by 28 dB will reduce hum and noise by the same amount.”

“My Focusrite interface doesn’t suffer from any measurable noise at the highest gain, and the lowest and highest audio frequencies drop only tenths of a dB at maximum gain, but the gain control is very touchy near the highest gain setting. I figured the Dynamite might be worth a look and listen even in my electrically quiet studio.”

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FIRST IMPRESSIONS

“The tubular case is metal and feels rugged enough to drive a truck over it without damage (I didn’t try this, however!). It weighs less than three ounces (80 grams) and is under four inches (about 96 mm) long. The finish is excellent, pins are gold plated, mic lock works smoothly, and it feels very solid overall.”

GAIN & IMPEDANCE

“I found the gain of my Dynamite to be 28.9 dB at 1 kHz and it varied only +/- 0.05dB over a frequency range of 10 Hz to 24 kHz. That is flat! I measured the same gain with a direct signal measurement using Room EQ Wizard, and using a ribbon mic with an output impedance of 300 Ohms on a mic stand a few inches from a speaker. I did not (and can not) test it out to 120 kHz, but have no need for such bandwidth! Phase response was also text book flat - essentially zero degrees from 10 Hz to 24 kHz, meaning no signal inversion and no phase shifting."

“Using a variable input impedance preamp, I found the gain dropped only 0.1dB when driving a 300 Ohm load, and above that, up to a 3 k Ohm load, gain was always 28.9 dB. Loading it with 150 Ohms reduced the gain by about 3 dB, but most mic preamps run 300 Ohms to 3 k Ohms.”

DISTORTION

“Distortion was difficult to measure since using an input in the low millivolt range did not produce harmonics above the noise level. To get a clean reading I had to use over ten millivolts and found total harmonic distortion appears to be composed primarily of the second harmonic with a smaller level of third harmonic. Fourth and higher harmonics are much lower and contribute nothing really measurable to the total. THD measured from about 0.1% with 10-15 mV rms input (equivalent to about 110 dB SPL into an SM58) up to 0.2% at the highest level I tested (equivalent to about 125 dB SPL into an SM58). And the distortion level is even across the audio frequency range. This is good distortion performance, certainly below the threshold of human hearing.“

THE BOTTOM LINE

“If you are looking for a solid, high gain signal booster that almost meets the old engineering goal of a “wire with gain”, I’d say sE Electronics have created it. There are other mic boosters available, and I admit I haven’t tested any of them (be glad to do so if they send me one to test!). From what I’ve heard and read, other brands have higher output impedance (gain not as stable with changing load) and higher noise levels, but some have variable input impedance (to affect mic tonality) if that is of interest, and may be suited for your needs. For me, the Dynamite fits the bill.”

New Products, sE In The Studio

Ken Bedene Plays The New V SERIES for Drums - ROCK + METAL

Ken Bedene. New drum mics. Killer playing. Enough said.

Thanks to Kristian Kohle for recording these (and Kai Stahlenberg for filming) at Kohlekeller Studios in Germany!

Mics used:

V KICK - kick (with "Modern" settings)
2x V BEAT - toms
V7 X - snare
sE8 - ride
2x RN17 - hat, china
2x VR1 - OHs

New Products

sE Electronics Kicks Off NAMM With New V SERIES Drum Microphones

sE’s V SERIES dynamic vocal microphones have found great success in the live sound market since their introduction just two years ago, having been seen on stage with some of the world’s biggest artists including Justin Timberlake, Common, Kenny Chesney, Evanescence, Billy Gibbons, Fleet Foxes, Flogging Molly, Chris Stapleton, and many more.

New for the 2019 NAMM Show in Anaheim California, sE is extremely pleased to announce three new V SERIES products, aimed squarely at the live sound & studio drum markets: the V KICK, the V BEAT, and the V CLAMP.

The V KICK is the most compact and versatile drum microphone in its class, intended for use with kick (bass) drums or other large drums where low-frequency energy is of the utmost importance. Its integrated swivel joint allows for any required mic placement, and its specialized supercardioid capsule provides a sound character tailored specifically for kick drums, which can be further shaped with the use of two voicing and high-frequency character switches on the rear side of the microphone. From warm and classic to modern and punchy, the V KICK gives you any kick drum sound you need.

The V BEAT is an ultra-compact dynamic microphone intended for use with snare or tom drums. Its specialized capsule provides a highly detailed, extremely natural sound character on snares or toms of any size, with amazing off-axis rejection to minimize bleed from nearby drums and cymbals. Its space-efficient design and parallel XLR connector & stand mount give it the smallest footprint in its class, and its rock-solid swivel mount allows its angle to be adjusted with great precision – so it can be aimed at almost any part of the drum head to achieve whatever sound character is required.

The V CLAMP is the fastest, most compact and most practical drum mic mounting system on the market, and is compatible with any popular snare or tom drum. It was designed as the perfect companion to sE’s V BEAT for snare or tom miking purposes, but it is also compatible with many other popular microphones. Its sturdy elastic clamp enables setup and tear-down within seconds, and its robust, bulletproof design is built for use on the road. The height and rotation of the connected microphone can be easily changed by loosening the V CLAMP’s knob and adjusting the position of the rod, allowing perfect positioning for any desired drum tone, or to minimize spill from nearby drums.

The V KICK has an MSRP of $199 USD / €219 EUR, the V BEAT an MSRP of $159 USD / €166 EUR, and the V CLAMP an MSRP of $39 USD / €39 EUR. All three new V SERIES products are shipping February 2019.