With the T2, your transients will never be the same again.
The versatility of the sE4400a's shockmount, patterns, filters and pads, plus a titanium diaphragm for the most immediate percussion, bass, guitar & vocal transients you've ever heard.
This mic is the ultimate combination of solid state performance and versatility. Based on the chassis and feature spec of the acclaimed 4400a, but with the highly specialized capsule of the original sE Titan, it delivers full and perfectly balanced mid and low frequencies, while its titanium capsule produces un-hyped but ultra-detailed HF response.
THE TITANIUM DIAPHRAGM
Unusually, the T2 features a hand-crafted titanium-sputtered capsule. This is much stiffer than our gold-sputtered capsules, meaning quicker transient response, which is important when recording instruments that create fast transients and attack - like drums and percussion - as it enables the microphone to maintain clarity and deliver exceptionally accurate performances.
The stiffness of this special diaphragm also allows it to withstand extremely high sound pressure levels, so it can handle the loudest percussion with ease.
CUSTOM SHOCKMOUNT + CHASSIS
The T2 shares the shockmount of the 4400a. Here's what TapeOp has to say about it:
The flat, round-edged chassis design and custom suspension mount allow the mic to be centered within the shock, flipped around and used flat against a drum head or guitar cab, or angled outwards and pushed through inside of a kick drum. And at less than 3/4" thick, it fits neatly in the palm of your hand, but is built to take a beating on the road.
Capsule Type: Hand-Crafted True Condenser
Diaphragm: 32mm Twin Titanium/Mylar
Directional Pattern: Cardioid, Hyper Cardioid, Omni, Figure-8
Frequency range: 20 Hz - 20 kHz
Impedance: 50 Ohms
Sensitivity: 25.12 mV/Pa (-32 dB)
Max SPL: 122/132/142 dB (0/-10/-20 dB pad) (0.5% THD @ 1kHz)
Signal to Noise Ratio: 78 dB
Self Noise: 16 dB(A)
Pass Filter Switch: 60/120 Hz
Preattenuation Pad: -10/-20 dB
Matching Connectors: XLR3F
Power requirement: 48V phantom
Weight: 280g / 9.88oz
"The T2s sounded exactly like I hoped they would. Punch and beef on toms was the number one criteria, and they delivered. Just slight EQing in my API 560s and they were perfect."
"One of the challenges of recording talking drums and sabar is to get the percussive impact, but still have the tone - the T2s give me both things that I need."
- Chris Fogel, Scoring Engineer (Black Panther, The Wolf of Wall Street) - sE Artist
"It's a firm, huge sound...it does low end really well. This is my favorite upright bass mic."
"We could tell right away that it was bad a**."
- Bill Reynolds, Producer / Engineer / Bassist (Avett Brothers, Band of Horses) - sE Artist
"I'm looking for a mid-range texture that the T2 gives me."
- Greg Price, FOH engineer (Black Sabbath) - sE Artist
“…just wow. Everything we’ve used it on sounds phenomenal. Our bass game is totally cinched up with the T2…we usually don’t even need to EQ it. When we’re tracking single guitar tracks, the T2 is all we need. It’s really a beautiful mic.”
- Michael Ulysses, Bridge City Sessions
"What really surprised me was the quality of the sound in front of a kick drum. The clarity and bass response was tremendous, and the sub-bass I could get from the T2 alone was fantastic…obviously, it depends on what kind of kick drum sound you’re after, but the T2 could now be one of my favorite kick drum mics."
"In summary, the T2 is a fantastic percussion mic. Its major success for me is the detail it can pick up with a frenetic and fast sound source, whether it be a guitar player attacking an extreme solo or rhythm, a percussionist with an array of instruments, or slap bass; all of these often need a mic that can be twisted, turned, and easily placed for the best capture of the natural performance. Then as a dedicated drum mic, I have a feeling this could become one of the major alternatives to the regular collection that people go for when choosing a kick drum mic."
- Alan Branch, Audio Media, 2009
"It adds a sense of definition and edge to the sound that makes it sound almost hyper-real. It's a very different effect to simply tuning the diaphragm differently or fiddling with the electronics, as the differences are very dependent on the source being recorded, rather than an overall brighter tonality...but again with no sense of ever sounding brittle or strained."
- Jon Thornton, Resolution (full review)