sE Electronics News

Unsigned Lounge 8 Finalists

Fri, 19 Apr 2013 00:00:00 +0100

Unsigned Lounge is a competition run by the Academy of Music and Sound in conjunction with Kerrang! Radio throughout March and April 2013, searching for musical songwriting and performance talent to win a host of career-building prizes. Read more about the Unsigned Lounge here.

The polling has now stopped and the votes have been collected for the eight finalists to perform for the Unsigned Lounge sponsored by sE Electronics and powered by Kerrang! Radio and The Academy of Music and Sound Birmingham. The competition was tough and we receieved well over 200 entries so thank you to everyone who entered and to everyone who voted!

The final eight will now compete in the final to be in with a chance of winning some amazing prizes! The final event will be held at The Fleet Street Kitchen in Birmingham on the 23rd April and there are a few last minute tickets remaining so to avoid disappointment, buy one now!

The winner will receive;

A four track recording at The Academy of Music and Sound worth £2000
An sE X1 Vocal Pack worth £169
An endorsement program with sE Electronics

The remaining seven finalists wil also recieve;

A single track recording at The Academy of Music and Sound worth £500
A masterclass with songwriter Mark Vallance worth £150

The eight finalists are...

Lake Komo - Pyramids

Kickshaws

Ghosts of Panama - Listen

Ruth Owens

Procrastination - Listen

This Wicked Tongue - House

Call Me Unique

The Wife - Listen

The Mourning Suns

A Cloud - Listen

Tom Scott

This Ageing Man - Listen

Sister Shotgun - For The Love of Hate

Liam Tamne is on The Voice

Fri, 12 Apr 2013 00:00:00 +0100

Our friends over at Ont' Sofa gave us the heads up on the talented Liam Tamne when they had him in to record a session with them recently. During the session Liam was using the sE Gemini II to record his vocals, and a pair of sE 4400a's were also used on acoustic guitar. Liam usually spends his time performing in the West End's Les Miserables as Enjolras, but took a stab at the second series of the UK singing competition The Voice.

Liam wowed even Sir Tom Jones from the panel of judges with his performance of This Woman's Work on Saturday.

Have a watch of Liam's audition for The Voice in the video below.

Check out Liam's Otis Redding cover of Dock of the Bay for Ont' Sofa sessions below:

Liam Tamne Facebook // Twitter

Unsigned Lounge Competition with AMS Birmingham and Kerrang! Radio

Mon, 25 Mar 2013 00:00:00 +0000

sE Electronics are proud to be sponsoring the Academy of Music and Sound's Unsigned Lounge competition in collaboration with Kerrang! Radio. The Unsigned Lounge is searching for talented musicians and songwriters near Birmingham in the UK to enter their best song for a chance to win a recording worth over £2000 along with an sE Electronics Vocal Pack studio microphone bundle and world-class music production mentoring with the Academy of Music and Sound in Birmingham.

Unsigned Lounge Competition Prizes

This is an awesome opportunity to get seen and heard by industry professionals and stand the chance of winning a four track EP recording in the AM&S studio worth £2000 and an sE Electronics X1 Vocal Pack - everything you need to make high-quality recordings and demos in your home studio as well!

The Unsigned lounge will not just benefit the winner though, as sixteen semi-finalists to be picked by the panel of judges will will have their videos featured on the Kerrang! Radio website for public vote, after which the eight finalists will perform live in front of media and industry professionals at a public Unsigned Lounge event to be held at the Fleet Street Kitchen in Birmingham.

How to Enter

Get your entry in by Thursday the 4th of April. For full details, terms & conditions and to enter, click here.

Ont' Sofa use sE mics

Thu, 21 Mar 2013 00:00:00 +0000

Jason Odle is a co-founder, engineer and producer for Ont’ Sofa, an online music video channel and production company dedicated to showcasing quality music and videos by artists and bands from all genres such as Karima Francis, Annie Drury (image below) and Caggie Dunlop . “What we do at Ont’ Sofa is mainly on the road. We have filmed and recorded in cities such as London, Leeds and Harrogate and often at various concerts, therefore the gear I use needs to be mobile and robust, coping with travelling from location to location”.

Jason has been recording music for almost 10 years and has been a musician all of his life. He has recorded and engineered various bands, solo artists, radio shows as well as the Ont’ Sofa sessions, and tells us how he has used sE mics throughout his musical career. “We use sE mics for all the acoustic instruments and vocals for the Ont’ Sofa sessions. I am currently working with the original sE2200a for vocals; it’s still going strong in my collection of mics. I also use a pair of sE4’s on acoustic guitars, percussion and pianos. These are great mics too, a clear, well balanced sound.”

“The sE2200a is the prominent vocal mic from our collection and I introduced it on a session about a month in from the start and it changed my thoughts on live recording! Having the mic close, I found it didn’t matter that it was a large diaphragm with a larger pickup pattern… and it did the job nicely! I don’t like to admit it, but in the 7 years or so I have had the sE2200a, I have dropped it 3 times, yet the sound hasn’t changed at all - built like a tank it seems!”

“I use the sE X1R on amps and the bottom end of acoustic guitars, I vary the use of mics on acoustics. I now use the sE4 pair on guitars and on piano - I wouldn’t go back! They’re brilliant mics, probably the best of the sE range I have tried! If we need to mic up some BVs we also have a couple of H1 live vocal mics, which provide a brilliant, clear and warm sound.”

“We are currently booking in some more established acts to help build the audience for Ont’ Sofa and sE mics will definitely be used to record these artists. sE microphones are a tribute to the top industry manufacturers. For price, build, response, look, feel and ease-of-use, you cannot replace an sE mic in its marketplace.”

Ont' Sofa's Twitter / Facebook

Engineer Mat Acreman talks sE mics

Mon, 11 Mar 2013 00:00:00 +0000

Live sound engineer Mat Acreman has worked with the likes of Cerys Mathews, The Broken Vinyl Club and is currently working with Welsh band Kids in Glass Houses. He has also engineered at major festivals accross the UK and Europe including T in the Park, V, Sonisphere and Benacasim. We wanted to find out more about Mat's collection of sE mics and where he takes them.

“Music has been a massive part of my life since my early teens, I started learning to play the guitar at the age of 13 which led me to play in various bands. Bit by bit, I gathered together some cheap recording gear and started doing bedroom recordings, and eventually I opened my own rehearsal and recording studios back in 2005. Whilst working at the studio, I found myself slipping into live engineering and I haven’t turned back since! Over the last few years, I’ve toured many countries and have worked with a growing list of big touring acts in the rock and pop world, most recently Kids in Glass Houses.

These days, I work exclusively as a live engineer. I split my time between touring, working for a PA company and various live music venues. Whilst touring, I find that the key to consistency is to carry a complete set of my own mics, if you can get a good sound from source, then half of your battle is won. I’m currently touring with a pair of sE4400, 2 sE2200a II, and a pair of sE1a's.

Until recently, I toured with all of my own mics aside from condensers and I’d always use the house condensers, with which I’ve had varying results. I then bought myself a pair of sE1a pencil condensers, which immediately took over as my Hi-Hat and Ride mics. I was instantly impressed by the clear sounds, most notably, the tight, crisp high end that I was now getting from the hats. After using my sE1a’s for a few months, I couldn’t turn back! After great results from the 1a I got my hands on a pair of sE 4400a’s and 2200a II’s.

I’m currently using all 6 of my sE mics with Kids in Glass Houses. I’m using the sE1a’s on Hats and Ride, the sE 4400’s as overheads and the sE2200a II’s on guitar cabs. I find the drum condensers extremely neutral and I love the flat, non-metallic sound that they give me. These mics are extremely versatile and have multiple pick up patterns and options; don’t be afraid to experiment and try new things!I double mic my guitar cabs and use the 2200a II’s alongside a dynamic mic on each cab. The results are phenomenal and gives my guitar that extra push that takes it through the roof! The sE 2200a II’s have taken my dirty guitar sound to another level, so I regret not introducing them sooner and would recommend them to anyone.

At first glance at my sE mics, I was immediately impressed by the solid build quality of the mics, especially the way they look. My mics do a massive amount of travelling, so it’s vitally important to me that they’re up to this, I can’t risk getting to a show and having a mic drop out on me. The sturdy build of these mics give me the utmost confidence that I’m going to get the same sound day in day out, and this is why I will see them in my mic box for years to come.”

Mat Acreman's website.

Jamiroquai Remix Project

Tue, 05 Mar 2013 00:00:00 +0000

sE Electronics are delighted to be part of the Jamiroquai Remix Project to celebrate the 20th anniversary of Jamiroquai’s 1993 debut album ‘Emergency On Planet Earth’. The competition gives Jamiroquai fans the opportunity to remix the chart-topping track ‘Too Young To Die’ with access to tutorial videos, software downloads and free samples to help with their remix. Entrants will have access to a large range of loops and samples pre-loaded into the project courtesy of Loopmasters, along with Live 8 production software from Ableton, video tutorials by Live-Courses and reading articles from SoundOnSound. Check out some of the remixes already entered into the competition to see what you're up against and catch up on the latest sE Electronics news on Facebook.

Up for Grabs:

The winner will be chosen by Jay Kay himself and win £2000 worth of recording studio gear, so no matter whether you're a beginner or more experienced, anyone can take part in this remix project - no experience is necessary! As part of the winning package we will be giving away an sE X1 Studio Bundle! The bundle consists of the newest Reflexion Filter to join the sE RF family; the RF-X, a sE X1 condenser microphone, the latest shock mount and pop filter kit as well as a 3m microphone cable. The sE X1 Studio Bundle is the essential package for the recording artist on a budget. The winning prize also includes the new 3 digitally remastered copies of the Jamiroquai albums being released on the 11th March. There will also be 3 runner up spots and prizes will be granted to whoever’s remix receives the most ‘likes’ on SoundCloud.

Enter your Remix!

For more information on how to enter, to listen to current entries and for full prize details, click here.

The Jamiroquai track awaiting your remix skills:

Empire Recording Studios' Sam Burden Chooses sE Microphones

Thu, 21 Feb 2013 00:00:00 +0000

Sam Burden is a British record producer, engineer and musician and owner of Empire Recording Studios in Surrey, UK. He has also spent time working in the iconic Abbey Road Studios and world famous Pinewood Studios. Sam has worked with such artists as Bring Me The Horizon, Russell Watson, Out Like Wolves, Paul Daley (Leftfield) and Only Men Aloud for companies including Sony, Universal, Decca and Island Def Jam. Sam also lent his musical skills to Jasmine Al Fayed for her Jasmine Di Milo label at the 2012 Paris Fashion Show.

"I fell in love with music at an early age and began playing drums in various bands. My studio career started out as the standard ‘tea boy’ role before working my way through the ranks to engineering. I now own a studio with a team of engineers along with freelance producing and song writing. I believe the most rewarding thing about making a great record is the way it effects people. Music really can change peoples lives."

Sam began his sE love affair as he “was originally attracted to sE products because of the build and sound quality, and the incredible value for money.” When asked what models he prefers, he says, I use the sE Gemini, Titan, T2, and R1 regularly. I always like to try out a few mics on every source so I can find the best option to suit each track rather than having a list of ‘go-to’ mics. This means I’m constantly comparing my collection of sE mics with some of the most famous vintage mics around which are much higher priced. I also use the Reflexion Filter PRO, I’ve just been down in Cornwall where I was working on a record with Port Isaac’s Fisherman’s Friends. We used an array of RF’s to minimise spill, as they were singing in a church!

"The sE T2‘s are really useful on a broad range of sources, and are becoming one of my favourite mics! I generally find an enormous amount of modern condensers far too hyped in the top end, the T2’s are incredibly detailed and have a really natural honest sound, a balance that many mics fail to achieve. I’d been searching for ages for an all-round pair of overheads and the T2’s have filled the position perfectly. At the end of last year I finished engineering the ‘Only Boys Aloud’ album. Recording 140 boys singing was a challenge that the T2’s met head on."

"In terms of ribbon mics, I’ve compared the R1 to loads of different ribbons over the years, and they sound as good as mics that are 5 times the price! I love these on Toms, room mics and of course guitars. Using the R1 on Toms was a slightly surprising discovery, great bottom end and the mids are scooped in the perfect place! The Gemini is perfect for pop vocals, it gives a really smooth valve sound and it has a great cross over of vintage depth and a polished, modern sound. I also use it on drums, it captures a great sense of standing in front of the kit and helps bring the mix alive."

"I choose sE gear because of the consistency of quality; They are reliable, well built, and sound great. During busy sessions, speed is often extremely important and I prefer to spend time creating sounds and vibe as oppose to wasting time fiddling around with mic placement and correcting 'mic droop'. sE's build quality on their cradles and clips gives me confidence that once I position a mic, it will stay there. With a wide range of products that cater for many varied applications, sE keep developing and delivering real work horse equipment for professionals."

Sam Burden on Twitter | Empire Recording on Twitter

Wah Wah Watson Chooses sE

Tue, 12 Feb 2013 00:00:00 +0000

Some of you may not know Melvin ‘Wah Wah Watson’ Ragin by name, but you do know 'Papa Was A Rolling Stone' by The Temptations, Marvin Gaye's 'Let's Get It On' and ‘Off the Wall’ by Michael Jackson. Wah Wah Watson is an American guitarist, producer, writer and artist and contributed his skills to hundreds of singles and albums. He is well known for his skills with a Wah Wah Pedal, hence the nickname, and was a key player in 70’s Motown sound, so we were very excited to hear what Wah Wah Watson had to say about his career, working with the late Marvin Gaye and sE mics…

“My Mother bought my first guitar for $15 with a promise from me that I would learn how to play it, and I did. I played my first major record date when I was 20 years old with renowned Motown producer Norman Whitfield. Norman called me in to play on Edwin Starr's ‘Stop the War Now’, released by Motown in the spring of 1971.”

“Then came sessions with The Four Tops, Martha Reeves, The Supremes and loads more.” Watson, meanwhile, had also begun what turned out to be a lengthy residency with the famed 12-piece Motown band led by Hamilton Bohannon. "That's where I really started developing my signature technique, and picked the nickname Wah Wah Watson”.

“I worked with all the hit producers at Motown, including Holland-Dozier-Holland, Frank Wilson and Johnny Bristol, but the person who had the biggest influence on me was Norman Whitfield. It was Whitfield who produced The Temptations ‘Papa Was A Rolling Stone’, the 1972 soul and pop hit which prominently featured my signature funky ‘Wah Wah groove’”.

“Between sessions I was playing major tours with a wide range of pop, soul and jazz stars. The most memorable was in the summer of 1983, I toured with the late Marvin Gaye on ‘The Midnight Love Tour’, unfortunately this was Marvin's last tour”.

Ragin has been working on several projects over the past year, one being an ambitious studio ‘Wah Wah Funk and Groove’ project. His most recent release ‘I Just Can’t Go On’, he worked on with Ray Parker Jr. who has played guitar on quite a few hits with him. When asked about his gear, he points out, “You may know I have used the Talk Box on a lot of records and therefore have to use a mic to pick up the sound.”

“I have used quite a few mic's with the Talk Box, however I fell in love with the sE H1 so much I used it to record my Talk Box in Studio setting. It captures the sound in such a realistic way; it has become part of my arsenal. I have also tried the sE 4400a, which really sounds like a mic from my past recording days. I also love the Reflexion Filters as they allow me to have a fatter quieter sound on vocals. Makes me Goo Goo Wah Wah...(!)”

For more information on any of the sE gear mentioned, or if you would like to audition sE mics in your studio, please email marketing@seelectronics.com

Jack Rubinacci's Mic of Choice, the sE Gemini II

Wed, 30 Jan 2013 00:00:00 +0000

Jack Rubinacci is an Anglo-Italian singer songwriter and has been a musician since the early age of 14. Born in Rome but grew up as a child in Birmingham, he became part of the British music scene during his time as lead singer in rock band ‘Honeyman’. Since his decision to continue as a solo artist he has toured with such artists as the late John Martyn, Joe Cocker and The Script as well as starting his own record company, RAR Records. He also recently supported the legendary Lionel Richie by opening his tour at the Oslo Spektrum in October last year and with his distinctive and unique voice is rapidly becoming a global success. We wanted to know more about Jack’s career, his upcoming projects for this year and what else he had to say about his new microphone of choice, the sE Gemini II.

"My musical abilities and inspiration came from my father. He is an Italian musician and worked in a bar in Rome as a pianist. When I was a child I'd often fall asleep in the corner of the hotel foyer listening to my father play The Beatles and Frank Sinatra. I never really made a conscious decision to be a musician. I began my musical career at the age of 14, I was in bands at school and I never wanted to stop", says Rubinacci.

"I first discovered sE mics whilst in the UK on a writing session. After finishing the writing we went ahead and demoed the song, that’s when I came across the sE Gemini II microphone. I'd never seen it before and I instantly found it impressive to look at. When I listened to the playbacks I immediately liked the sound of my vocals and kept telling myself how much I love the sound of the mic. So I decided to take the plunge, it's my first good quality mic and it's fantastic!"

"Having recorded at Abbey Road Studios and Real World Studios, I’ve had use of a lot of microphones. However, I like the Gemini II because it cuts through with both bottom and mid to tops. I find that some other mics can be slightly soft sounding, and that’s not what I personally like. The sound is incredible, full, and robust with a cutting edge. I also like the design of the Gemini II and how well built it is. The case it comes in is great too as it makes it secure to travel with."

Jack states he uses the sE Gemini II " primarily for vocals when I’m in the studio. I use it for close mic’ing my vocals, which gives me a warm and clear sound. I also use the Gemini on an up right piano and acoustic guitar, it sounds great on all! My first vocal session using the Gemini II is on a track called One Night Symphony’ which I co wrote and perform with the fantastic Abi F Jones. The track has been released in Norway and we have just released the video. It will also be featured on Abi’s album, which is coming out very soon. Whilst recording the song I felt the Gemini II was giving my vocal an edge that the song really needed. I've used the sE Gemini II and the Gemini III, together with a Reflexion Filter Pro. The mics have become my new mics of choice due to the robust, rounded bottom end and clear top end of the mic. The RF Pro was easy to use and sounded great too. I have been recording my next album and I'll definitely be using the Gemini II on my vocals. I look forward to using more sE microphones in the future."

To find out more about Jack Rubinacci's microphone of choice, or how you can audition sE mics in your studio, email marketing@seelectronics.com

HSBC Business choose Sonic and sE

Thu, 13 Dec 2012 00:00:00 +0000

In June 2012 Sonic Distribution was recognised as one of six finalists from just over 3500 competitors at the HSBC Business Thinking Awards (HSBC's initiative to find and reward the UK's best business thinkers). To build upon this initiative HSBC has launched a high-profile and extensive marketing campaign aiming to drive international growth for British businesses, and to increase recognition for HSBC as the 'international trading bank of choice' for businesses in the UK.

We are delighted that HSBC has chosen to lead the campaign featuring Sonic Distribution and has built the core visual component using an sE Electronics H1 microphone.

"It is a huge endorsement for Sonic Distribution that HSBC has chosen us to represent their brand. It's because HSBC believes we have one of the best run businesses in their UK portfolio today, ultimately a company able to lead the market, and not content to simply follow old trends" - quotes James Ishmaev-Young (Sonic Distributions' MD).

The five week campaign - which is already live - is scheduled to run until 15th December - and is distributed via a comprehensive range of mainstream media channels including:

Print - back cover advertisements in the major national newspapers (below).

Outdoor - animated graphics advertisements on electronic billboards in high-football public locations such as London Kings Cross/St Pancras International, and other major infrastructure terminals.

Radio - commercials on all major national stations

Online/digital - HSBC Business home page and international business page (below).

Watch James Ishmaev-Young explain 'How HSBC helped Sonic Distribution take their business oversees'.

WIN an sE X1 in association with Prime Beats!

Thu, 13 Dec 2012 00:00:00 +0000

Have a chance to win an sE X1 in association with Prime Beats and the launch of their new website with an MC battle!

Prime Beats are giving you 10 FREE beats to use for your competition entry, so if you think you have what it takes to impress none other than UK hip hop star JME then go to Prime Beats to find out how.

The competition will be hosted and judged by JME.

We will be posting the winners on the sE Electronics Facebook, Twitter and Google Plus.

Watch JME explain how to enter the competition and what awesome prizes are up for grabs!

Patrick Derivaz and his new 'go-to ribbon mic', the Voodoo VR1

Mon, 19 Nov 2012 00:00:00 +0000

Patrick Derivaz contacted sE recently via marketing@seelectronics.com to share some kind words with us;

“Hi sE,

I just wanted to let you know that recently I bought a sE Voodoo VR1 and I love the way it sounds on various sound sources. A couple of weeks ago I decided to do a blind test recording an electric guitar with different mics to check how the Voodoo will perform. During recording, the mics were at the same position and distance from the speaker and going to a preamp always at the same level. After playback, the guitar player and the other musicians and engineers all picked the Voodoo as their favorite...Thanks for a great job!”

Patrick Derivaz composes, performs, records, mixes and produces and has worked on numerous successful projects. He lives and works in New York whilst also finding the time to perform lectures at NYU and FIT. He is currently recording and mixing for the 5^th season of ‘Nurse Jackie’, the award winning American comedy-drama for Showtime. After hearing his positive feedback about the Voodoo VR1, we were excited to hear more about his career and his new love for sE mics…

“Early on, I enjoyed listening to and playing a broad range of music styles and genres; jazz, rock, classical and world music, to name a few. I was born in France and stayed there to study music at the Conservatoire before moving to New York. I have produced, played and engineered many albums, films and commercials. John Cale, Will.I.Am, Philip Glass, Joe Zawinul, Tom Verlaine are amongst the many great musicians I have worked with.”

“I had heard great things about sE mics over the past 8 to 10 years but hadn’t had a chance to use them. I now own a sE Voodoo VR1 and it is not only a fantastic sounding microphone, but the craftsmanship and build are first class.”

“My focal area of work is studio recording and mixing, and my main music set up is usually various combinations of mics, preamps, eqs and compressors. I have used the VR1 on double bass and cello and I didn’t have to use eq either tracking or during the mix. As a room mic it adds a very nice element and dimension to the tracks.”

“Doing a blind test with some of the best mics around made the VR1 shine. The sound is fantastic! In an age of mass production, having something handmade makes you appreciate the expertise and care that went into it. Sometimes, working in the best studios and using classic mics, one can easily forget that some of the mics being built today are remarkable, and will be tommorrows classics.”

“I still appreciate the other mics used for the blind test however I much prefer the Voodoo VR1 the most overall; given its small footprint, it is very easy to use on tight spots. It also looks great and I am now looking forward to working with other sE products.”

“I recently used the VR1 on tracks for two upcoming contemporary classical music CDs, ‘Hopper Stories’ a documentary for Arte about Edgar Hopper, and another for HBO, ‘Fall to Grace’ which was about ex New Jersey Governer James McGreevey. I will be using it quite a bit on the new season of ‘Nurse Jackie’ for Showtime in a few days.”

“The VR1 has a very articulate sound, with a nice bass presence and smooth sounding highs. As with most high quality ribbons mics, the transients are handled very well. I have used a lot of different mics over the years, and the sE Voodoo VR1 is now my go-to ribbon mic! Between the sound quality, craftsmanship and price you owe it to yourself to have one (at least…).”

Thank you to Patrick for contacting us and for his kind words! If you would like to buy or audition the sE Voodoo VR1 or any of the other sE mics, please email marketing@seelectronics.com

MOBO Award winner Labrinth says his sE Munro Egg's are "perfect"

Tue, 06 Nov 2012 00:00:00 +0000

From being the backroom brains behind Tinie Tempah to being a successful artist in his own right, taking home 'Best Song' for 'Earthquake' at the 2012 MOBO Awards, we ask Labrinth why he loves the sE Munro Egg 150's.

sE Endorsee: Labrinth

Occupation: Artist, Songwriter, and Producer.

Artists: Master Shortie, Tinie Tempah, Devlin, Emeli Sande, Wretch 32, Professor Green, Usher, Ellie Goulding.

Gear: sE Munro Egg 150.

Timothy McKenzie, aka Labrinth, is an English artist, songwriter and producer from Hackney, London. He made his debut appearance after collaborating with Tinie Tempah on his single ‘Pass Out’, which went on to reach number one in the UK Singles Chart in March 2010. Since then he has worked with artists such as Ellie Goulding, Emeli Sande, Professor Green and Usher and has taken the music scene by a storm.

We wanted to know what influenced Labrinth’s style of music, what he’s been working on and what he thought of his sE Munro 150 Egg Monitors, so popped into his studio to have a little chat…

“My passion for music started at a very young age, I have a really big family and they are all very musical so it would have been weird if I wasn’t. The school I went to was a music and arts college and all my friends were really into music, so I ended up really enjoying it and I developed a real attachment to music. I started producing records when I was 13 in studios all over the place. When you love music you will find a studio or an instrument anywhere. I then learnt to play instruments and I learnt to understand music theory, melody and harmony, and then thought ‘I think I know what to do with this stuff, I’ll become a producer!’”

“When starting out I didn’t know much about production and gear but as you develop you start to notice certain sounds feel right for you, certain speakers, certain instruments. Everyday I’m using new synthesisers and new plugins and for me it’s almost like finding the right clothes that fit you well, I think the Eggs will sound great on my new projects.”

“I wanted Electronic Earth to be an honest representation of me as a person and my creativity. There is a lot of variety in it, and it still doesn’t exemplify the amount of music I make. There are so many artists I really respect such as Prince, David Bowie, Stevie Wonder and Ray Charles and they have personalities as artists. I hope I can be an artist in that vein, that was my album approach.”

“My thing right now is live music. If you can get yourself into a live studio, get in there as quick as possible. It’s really important to recreate the electronic studio-sound in a live environment and to have that electronic energy represented on stage. I can take any song I’ve produced and I can play it on stage, it’s exciting because it’s like remixing every one of my records!”

“I like the sE Munro Egg Monitors because it feels that I’m getting an honest representation of what is going on. It feels like I’m getting the right balance and warmth, I’m not losing the vibe of my music so these are perfect!”

Labrinth Twitter

If you would like to buy or audition the sE Munro Egg 150's via the sE loan service, please email marketing@seelectronics.com

sE Electronics X1 Studio Bundle

Wed, 31 Oct 2012 00:00:00 +0000

Introducing the sE Electronics X1 Studio Bundle.

sE Electronics are celebrating the launch of the new RF-X Reflexion Filter with the co-ordinated introduction of the sE Electronics X1 Studio Bundle which provides customers with arguably the best value for money high-quality home recording solution available on the market. The bundle ships as a single box and includes the RF-X itself, the highly popular sE X1 large diaphragm cardioid condenser microphone, the latest shock mount and pop filter kit (as sold with the 2200a mk II) and a 3 metre microphone cable.

Contact your local sE Electronics dealer with enquiries.

sE Electronics Awarded U.S. Patent

Mon, 29 Oct 2012 00:00:00 +0000

sE Electronics have been awarded United States patent protection for their industry standard Reflexion Filter™ series of portable vocal booths. A patent had already been awarded in China and patents are pending in the E.U.

Patent No. US 8,191,678. An apparatus comprising a combination of a microphone and a composite acoustic panel. The composite acoustic panel comprises materials having different spectra of acoustic absorption. The materials may be integrated in a single layer or in a plurality of different layers.

Initial concepts for a portable vocal booth were conceived by sE Electronics’ founder Siwei Zou. sE officially launched the Reflexion Filter Pro six years ago. The first Reflexion Filter Pro subsequently started shipping and was an overnight success. To date sE Electronics have sold over 100,000 Reflexion Filter products worldwide with sales still growing rapidly.

sE Electronics‘ James Young puts the huge success of this product down to several key factors: “First of all, it’s one of those inventions which exactly hit the spot. There were so many people who desperately needed a proper solution to difficult recording spaces or conditions, but couldn’t either practically or financially afford to acoustically treat a custom recording room. How many of us spent our youth collecting egg boxes to stick to bedroom walls?! The Reflexion Filter resolved this problem on a commercial level for the first time and made those days a thing of the past.”

“Second, the product works! It is incredibly difficult to produce a viable recording space in such a small footprint. The Reflexion Filter uses sE’s patented technology to resolve this problem incredibly effectively, producing almost zero sound coloration, while taming the effects of room ambiance by removing direct source energy before it can be reflected.”

“And finally, the end users themselves have been the cornerstone for the success of the Reflexion Filter. There are a huge number of top producers, engineers, artists and studios who have lent their names to this product, because they use it, and it does its job perfectly. In a nutshell, if you want a portable acoustic treatment device that really works, there is only one choice for professionals - an sE Reflexion Filter.”

With producers and artists as diverse as Gil Norton (Foo Fighters, Counting Crows), Stevie Wonder, Chris Porter (George Michael, David Bowie), Rik Simpson (Coldplay), Ricky Lawson (Michael Jackson), Simon Frangelin (Celine Dion, Avatar) and many, many more, who stand firmly behind the technical achievement and performance of the RF series, the Reflexion Filter is one of an elite group of pro-audio products which can truly be considered as an ‘industry standard.’

The message from sE Electronics is clear - innovation, performance, and great value for money. If you want a portable vocal/recording booth, use the professional’s choice: the Reflexion Filter.

Reflexion Filter Pro Full Spec.

Video: James Young - Why sE Reflexion Filters work and other 'Reflection Filters' don't.

Ray Parker Jr. and his sE Electronics Gemini II

Fri, 26 Oct 2012 00:00:00 +0100

Ray Parker Jr. is best known for his Academy Award Nominated smash hit ‘Ghostbusters’ and has worked with musical genius’ such as Marvin Gaye and Stevie Wonder...and his mic of choice after a music career spanning 6 decades? The sE Electronics Gemini II…

Ray Parker Jr. got into music at the age of 6 because he didn't want to dance with the girls in gym class! He started on the clarinet, morphed to the saxophone and then the guitar by age 10. He played with The Spinners at the of age 13, worked with Marvin Gaye at 15, then Stevie Wonder at 18 touring as the opening act with the Rolling Stones.

Moving to California to start his own career Ray’s first hit record, written with Chaka Kahn, ‘You got the Love’ hit the number 1 slot on the Hot Soul Singles Chart in 1974. Ray went on to form the R&B/Funk group Raydio in 1977 who scored their first big hit, ‘Jack and Jill’, from their self-titled album in 1978 with Arista Records. Raydio went on to score a string of hits in the 70’s and 80’s culminating with the re-named Ray Parker Jr. and Raydio’s biggest hit 'A Woman Needs Love (Just Like You Do)'.

After the band split in 1981, Ray continued with his solo career, scoring six Top 40 hits, including the hit singles ‘The Other Woman’ in 1982 and, the now infamous, ‘Ghostbusters’ in 1984. He also wrote and produced hits for New Edition, Randy Hall, Cheryl Lynn, Deniece Williams and Diana Ross, and performed guitar on La Toya Jackson’s 1980 debut album.

Most of Ray’s big hits were recorded at his ‘Ameraycan Studios’ on a 24 track with an SSL Console, and his go to mic these days is the sE Gemini II for vocals and the sE Rupert Neve RNR1 for his guitars. Most recently the Gemini II saw main vocal action on the ‘Up all Night’ Cheryl Lynn album project, and is currently being used to great effect on new music for Ray, Jericho Parker and Cheryl Lynn.

“The dual-tube Gemini II is incredibly warm, and delivers ultimate performance when making digital recordings. Most of the mic's I used to use were created to use with analogue tape, so you have to roll off the high-end quite a bit when recording digitally. The Gemini II is the perfect balance of vintage sound for modern recording, and it’s built solid and reliable.”

“Working with Cheryl Lynn I also had the chance to use the Reflexion Filter Pro which was invaluable in closing off the ‘sound’ of the room so you can work with a really pure vocal take, it makes a great vocal set up with the Gemini II. If you are recording in the 21st Century you will find it pays to step into the new standard in mic technology. In short, if you want that warm, fat sound without compromise…own a Gemini II”

Ray Parker Jr. at the 2012 NAMM Show with sE Owners James Young (Right) and Phil Smith (Left).

Thank you to Ray Parker Jr. for his kind words and picture!

If you would like to audition or buy the sE Gemini II in your studio via the sE loan service, please email marketing@seelectronics.com

"It's like I've found the Holy Grail!"- James Towler on the VR2

Fri, 19 Oct 2012 00:00:00 +0100

James Towler is an award winning Recording Engineer and Producer. He is also Steve Winwood’s and Wincraft’s front of house, studio, and tour manager and has worked with the likes of Eric Clapton and PiL. James kindly took some time out of his busy schedule to talk to sE Electronics about his career, working on Steve Winwood’s upcoming West Coast American tour and his new love for the sE Voodoo VR2...

"I started out DJing in Bristol in the early 90's, and then moved onto running a record Label with Flynn (from Fresh Four) & Flora called Independent Dealers. This is where I really started to understand production and began wanting a career in music."

"I moved from Bristol to London to work for Richer Sounds and consequently became involved in the creation of a new chain of stores called X Music selling high tech music equipment. During my time at X Music I met a lot of musicians who were buying samplers, keyboards and outboard gear. After a few years of running the store I received a phone call from Mike McEvoy and he offered me a job as a keyboard technician working with Steve Winwood. Over the next few months I worked for various artists such as Des’ree and Shola Ama before working for Steve Winwood full time and setting up Wincraft Studios."

"For the last 15 years I have been splitting my time between studio and live music, working with numerous bands from PiL, Eric Clapton, Jim Lockey & The Solemn Suns, Gifford Circus, Paul Booth and Mirrorkicks, to name a few. I was also fortunate to receive the Recording Engineer of the Year Award in 2008 from the Music Producers Guild (MPG) and also received two Grammy nominations and a further MPG nomination for my work on 'Live at Madison Square Garden' with Eric Clapton and Steve Winwood."

"I started using sE mics a few years ago - initially using the sE1a for ambience. More recently I’ve used the sE Voodoo VR2 on guitar amps in the studio and will soon to take them out for live shows on Steve Winwood’s West Coast American tour."

"The Voodoo VR2 is the first mic I’ve put on a guitar amp that’s made me feel I’m getting what’s coming off the cab without any EQ or compression, which is always my ultimate goal when recording or working live. If I have to mess around too much with a mic I know I've made the wrong choice, it makes sense but it’s all too easy to forget and go with what everyone else is using. A great live engineer called Walter Jaquiss (PiL) always likes to change stuff and push what we do and how we listen. I was pleased with the build quality of the VR2, I wasn’t expecting the weight in my hand when I picked it up.  I wish I’d had the VR2 on all my past recordings, it’s almost like I have found the Holy Grail!"

"I am currently finishing up with a band called the ‘Golden Retrievers’ and I have some guitar tracks to do for them so the Voodoo VR2 will be all over that."

Thanks to James Towler for the photos and kind words. Photos taken by Ross Mitchell.

If you would like to buy or audition the sE Voodoo VR2 in your studio via the sE loan service, please email marketing@seelectronics.com

Donal Hodgson "sE Rupert Neve RN17 on Toms - Amazing!"

Mon, 08 Oct 2012 00:00:00 +0100

Donal Hodgson is an award winning Sound Engineer, Mixer and Studio Manager and has worked with such artists as Sting, Tina Turner, Jeff Beck and Duran Duran.

Donal started out in the industry as a tape operator at Jacobs Studios, Surrey. He then moved on to Eden Studios in West London where he progressed swiftly to become Chief Engineer and worked with artists such as Primal Scream and The La’s.

In May 2005, Donal began managing Sting’s studio and went on tour with Sting as his sound supervisor, whilst also being involved with The Police World Tour.

In 2011, Donal dedicated to recording Sting's latest and as yet unreleased project. Earlier this year he took some time out of his busy schedule to talk to us about his career, gear and his upcoming projects with Sting.

Which sE products are you using?

“We are recording a new album of Sting material and so far my sE Rupert Neve RN17's are on every track. I'm using them on drums at the moment. I was impressed enough by the RN17 to buy a pair, you can’t recommend a piece of equipment than using your own hard earned coins in it’s purchase. These are a very welcome addition to my slowly increasing mic collection.”

“What surprised me about the RN17’s is how good they are on such a wide range of uses, they really fit with the type of music I am recording, simple. As well as the RN17s, I have also been using the Reflexion Filters, specifically the IRF 2 – the original and best filters. You won’t believe how good they are until you use them. I now don’t record without them.”

Do you have any tips on the way you use your sE mics?

“Put the RN17’s on toms, they’re amazing!”

Tell us a few things you like in general about sE mics.

"The build quality feels really good on the RN17’s. The Reflexion Filters have certainly survived a lot of travelling so I am looking forward to seeing how the RN17’s survive air travel in my bag! Basically, there are certain products that I’ve used or heard in my career, and I know that I just have to have them as they will greatly improve what I do professionally; the RN17’s are such a product.”

Many thanks to Donal Hodgson for his kind words and picture. If you wish to audition the sE Rupert Neve RN17 in your studio via the loan service, please email marketing@seelectronics.com

"sE on Linkin Park guitars - game changer!" Ken Van Druten

Fri, 05 Oct 2012 00:00:00 +0100

Three times Grammy nominated Producer / Recording engineer, FOH Engineer, and Tour / Production Manager Ken "Pooch" Van Druten talks to sE Electronics about his career, touring with Linkin Park and his new microphone love, sE Electronics.

Most recently on tour with Linkin Park, Van Druten brings with him decades of experience as a first-call live sound engineer. A graduate of Boston’s Berklee College of Music, he has worked with many big names including KISS, Whitney Houston, Kid Rock and many more.

Do you have any tips on the way you use your sE mic(s) you’d like to share?

"Nothing tricky here. I learned as an assistant engineer in the 1990’s where to place my microphones from the best engineers/producers in the business – how would I improve on that?"

How did you get into the music business?

“I have been a musician all my life. I studied classical piano beginning at the age of three years old. When I was in high school I had started to play guitar because I figured out that guitar players got the girls."

"The punk band I was in won a ‘battle of the bands’ contest. The prize was a weekend in the recording studio in Los Angeles. When we went to the sessions, I spent the entire time watching what the engineer was doing, and not caring at all about my guitar playing. I said, 'I want to do what THAT guy is doing'."

“Later that same year I was awarded a scholarship to the prestigious Berklee College of Music in Boston. There I studied Music Production and Engineering and graduated in 1991. While I was still in Boston I was working at a local studio and eventually worked my way up to become the head engineer there. After I graduated I had already had quite a bit of experience in the studio, and moved to Los Angeles. I spent my first four years in Los Angeles working as a producer and recording engineer in the LA music scene."

"One of the bands that I was working with in the studio fired their FOH guy, and asked if I could mix their live show. Previous to that moment I had never mixed anything live. I fell deeply in love with the instant gratification of mixing a live show and have never looked back. My world has come full circle in recent years as I am getting bands now asking me to mix some of their studio projects.”

Which sE products are you using?

"I am using the Voodoo VR1 on guitars, the 4400a on Overheads, sE4 on Snare drum, and the RN17 on the Hi Hat for Linkin Park. Incredible. I find that the sE microphones in general are really accurate. They really catch the nuances and air of cymbals in a drum kit that the previous companies microphone does not. It allowed me to move the EQ focus of the cymbals higher in the EQ spectrum to be more 'airy'. With the previous microphone it would just get 'trashy' in those frequencies."

“Also I am currently using the Voodoo VR1 on guitars, and really enjoying the sound, they have a really nice EQ characteristic to them that helps them punch through my mix - a game changer! I use them in combination with speaker DI’s and the two really marry well together.”

“It would have been nice to use sE mics all along. They have significantly improved my mix. I also really like the overall design of these microphones. There is something very sexy about the Voodoo VR1. As soon as you pull it out of it’s case it beckons you to use it. Very cool. Also the mount design for the 4400’s is really smart. I use it in its shock mount mode or in it’s 'mic something close' mode. It’s really helpful. sE microphones are among the best microphones I have ever used. They are rugged and can take the day in, day out, beating that microphones take on the road, and they still keep on ticking."

Madagascar 3 Percussion Recorded with sE Ribbon Mics

Thu, 04 Oct 2012 00:00:00 +0100

Rupert Coulson recorded the percussion for Madagascar 3 at Air Studios using the sE Rupert Neve RNR1 and sE Voodoo ribbon mics. Rupert:

"Having worked on a few Hanz Zimmer scores in the past, I had a reasonable idea of what would be needed to record the percussion on Madagascar 3. The movie is fairly slapstick comedy, like the previous two, only more so as it is set partly in a circus with plenty of falling over, crashes, collisions and general mayhem! Four of the best orchestral percussionists in London had been booked to play, Frank Ricotti, Paul Clarvis, Gary Katell and Ian Thomas. The venue was Air Studio One."

"As there was going to be a lot of loud ‘crashing and bashing’ going on (cymbals, gongs, snare drums and bass drums) it is important that the sound never got harsh or brittle. Snare drums especially are renown for stepping all over dialogue as they occupy the same frequencies as the human voice. If anything does get in the way of the dialogue, the film mixer or director will turn it down. Which you don’t want."

"So mic wise it was pretty simple, quality ribbons all round. The four players would be playing the same part together on four differing snare drums. I used a pair of RNR1s on the piccolo snares and a pair of Voodoos on the larger ‘military or field’ snare drums. Not too close about 4 feet above the surface of the drums. This combination would give me the presence and impact of 4 men playing very loud snare drums without the harsh, clanging, unpleasantness of regular cardioid, condenser microphones, such as a Neumann u87s say."

"For the bass drums we put the RNR1s really close to the skin, about 10 inches away. Contrary to popular belief, hitting a concert bass drum hard doesn’t always get the deepest, bassyist sound. The players beat them just hard enough to get a nice impact and the boom went on for seconds! Like an 808 it shook the room. With three bass drums at once it was epic, generating plenty of sub for the subwoofer."

"That’s the thing with ribbon mics and especially the sE family. The feeling of being stood next to the musician and just enjoying the music. They provide the transparency of sound that encourages the listener to hear only the music and the performance."

Many thanks to Rupert Coulson for text and picture.

Lewis Watson, Joe Porter (tBeatMusic) and the sE Gemini II

Thu, 27 Sep 2012 00:00:00 +0100

Earlier this year (April), Joe Porter of TBeatMusic contacted sE via marketing@seelectronics.com:

"Hi sE,

I wanted to share some good news with you and say how much I love the sound of the Gemini II. I am a songwriter and producer. Lewis Watson is an artist I work with. We just released his debut EP 'it's got four sad songs on it btw'. We thought it might do well, but we have been blown away by the response.

On release, it got to no.10 in the UK iTunes chart, and no.1 in the singer/ songwriter category. This week it was featured on page 36 in Music Week and is in the 'what's hot' on the front page of iTunes. Lewis now has over 3 million views on his YouTube channel."

"This is even more exciting when you find out that Lewis is currently unsigned, and that the EP is self-released. I tracked, produced, mixed and mastered it, he did the artwork, we both played on it. We tried lots of different mics for his beautiful vocals, and the Gemini II blew the other ones away. I love that mic, we can hear why Stevie Wonder says such great things about it. The Gemini II is our go to mic for Lewis' vocals. If you'd like to spread the good news, that would be great."

Lewis Watson has subsequently been signed to Warners and releases 'another four sad songs' on October 22nd (available to pre-order from October 1st). Congratulations to Joe and Lewis from sE. Joe has kindly taken some time from his busy schedule to talk to sE about his career and gear.

From The Royal Academy of Music to Cuba

Joe: "My parents bought me a ukelele when I was 4, and from then onwards I have always been involved in music, learning piano, guitar, drums and percussion along the way. I studied composition at the Royal Academy of Music. In my last year, I took an additional option in world music and was blown away by the rhythms of music that I had never heard before, particularly from Cuba and West Africa."

"From that I decided that I wanted to learn properly about this from the 'source' if possible. I ended up in Havana, Cuba for two years studying Afro Cuban music at the National School of Arts and on the street where it really happens. In many ways it was like starting from scratch again. As well as all the playing I got involved with recording performances, and learning how Cubans are able to get such an amazing sound out of a limited range of older equipment and instruments. They really proved that it’s not so much what you play but how you play it, and the location you play it in. On returning to the UK I began touring and writing with salsa and latin bands, also doing session percussion work. Alongside this I set up my own studio to write and produce, focusing on young artists."

sE Gemini II and sE Rupert Neve RNR1

Joe: "Gemini II I use a lot on vocals. I usually put that up with a AKG 414 or Neumann U87 when I start working with new vocalist. I tried it out, and really liked it, so I bought one from Absolute Music. The sE Gemini seems to add a smooth brightness to the top end that I like, and I find that I can slam it quite hard when mixing to create a really forward or intimate vocal sound without it getting overly harsh."

"I’ve used it on acoustic instruments and fender Rhodes recently as well, it is a great all rounder actually. It’s a big mic, definitely worth its weight though. I’ve recently started using the RNR1 and am enjoying using that. As well as production and mixing, I play percussion and drums a lot, so I can get fussy about how they sound when recording."

"The sE Rupert Neve RNR1 gives great clarity particularly on hand percussion and I have been impressed with how it handles congas and bongoes etc. The RNR1 on acoustic guitar is also great. It feels like the RNR1 gives the transient clarity of a ribbon, with the tonal depth of a condenser, I’m trying some stuff out with them at the moment and am enjoying what they are capturing. I don’t think a mic can ever capture more than the original sound, if it’s not there in the first place it never will be, but the RNR1 really does focus in on areas that other mics don’t as much."

Recording Lewis Watson's "its got four sad songs on it btw"

Joe: "I used the Gemini II exclusively on Lewis Watson’s vocals on his debut EP ‘its got four sad songs on it btw’, and the live version of ‘#3’ which was a free download from his facebook, It was also over the sound hole on his guitar.

I think it is fair to say that the Gemini is now an invaluable part of my micing techniques. It was a key part of the achieving the required vocal clarity for Lewis’ vocals."

Many thanks to Joe Porter at tBeatMusic for words and pictures. If you wish to audition the sE Gemini II or sE Rupert Neve RNR1 in your studio via the sE loan service, please e-mail marketing@seelectronics.com

Scanner Robin Rimbaud is busy

Tue, 24 Jul 2012 00:00:00 +0100

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound, space, image and form, creating absorbing, multi-layered sound pieces that twist technology in unconventional ways.

Robin is a busy man... Having just premiered new work written with Joel Cadbury of Unkle / South fame for The Big Dance, re-scoring and writing new works based around the UK band Joy Division for a new project at the Brighton Festival with Heritage Orchestra and composing an 'Olympics' work for The British Business Embassy (debut this week) ... yet ... within Scanner's busy schedule, Robin has kindly taken the time to talk about his career, current projects and sE Munro Eggs.

Scanner Website

Scanner Facebook

Q: Who is Scanner?

A: I’ve been writing and producing music professionally for twenty years as Scanner, but before that had been playing with sound since I was around ten or eleven years old. The simple addition of a portable tape recorder to my family home was enough to spark an interest in recording and capturing the world. Much of my teenage years are documented on tape when I would record my school trips, my holidays, and keep them on cassette rather than photographs.

I had piano lessons as a teenager, taught myself the guitar aged 16, and have remained fascinated by developments in creating music since then, never stopping listening or making sounds since those days. My Teac two track reel to reel was superseded by the advent of Portastudios which opened up countless opportunities for me to sketch out ideas on a modest budget.

I have always tended to be drawn to ideas and projects that access a diverse audience and future prospects, as well as collaborative practices. Hence I began by creating abstract, absorbing multi-layered soundworks controversially using found mobile phone conversations in the early 1990s, and since then have collaborated with artists from every imaginable genre: musicians Bryan Ferry, Matthew Shipp, and Laurie Anderson, The Royal Ballet, Merce Cunningham and Wayne McGregor/Random Dance companies, composers Michael Nyman and Luc Ferrari, and artists Mike Kelley, Derek Jarman, Steve McQueen, Carsten Nicolai and Douglas Gordon.

Since then I have scored everything from a children’s musical in Paris, Kirikou & Karaba, designed sound identities for the Philips Wake-Up Light, Punkt telephone and Hermés fashion brand, acclaimed iPad magazine POST, Chanel’s new Fall-Winter 2012 collection in Paris and the launch of the new Mercedes Benz A Class car in Geneva.

Q: What gear do you use?

A: I remain a minimalist in my approach to gear. I currently use a MacBook Pro running Ableton Live and Logic Pro, with an Axiom 61 Keyboard. In addition for live performance I use an Alesis AirFX, AirSynth, Korg ES1 sampler and Korg Nano Kontrol. As long as everything fits into hand luggage for performance then that’s ideal for me. I play a Variax 600 electric guitar through a series of foot pedals as and when duty calls ;-)

Q: You have recently purchased the sE Munro Egg 150 Monitoring System, let's talk Eggs..

A: The Eggs are playing all manner of roles in Studio Scanner, from the production of sound in the studio, directly from the imagination, through to post production, editing, mastering, through to being the choice for running DVD sound through for welcome entertainment at the end of a busy work day.

I had been using the same Tannoy monitors for many years and though they have proved to be honest with their sound distribution I was finding they lacked any bass response and indeed for some projects had to imagine where the bass frequencies might actually be hovering around since they were not audible. I’m also clearly drawn to futuristic modernist design and the visual appeal too was enough to seduce me!

Q: Have you had any new listening experiences with music you’ve known for a long time?

A: Absolutely, mostly my own productions, but it’s been extremely revealing. A strong even response with bass that is grand but never distorted. I’m finding a renewed dynamic inside pieces that I have never experienced before which is electrifying!

Q: On which projects have you used the sE Munro Egg 150 system so far?

A: They arrived just in time for my work on a massive film campaign for Sprint telephones in the USA which is heard in over 70% of cinemas across the USA with an audience of around 200 million each and every month for the next year. I needed them to feel assured that what I produced was as close as possible to what might be heard in movie theatres across the country. Here's the result and the making of. At the same time I invested in the sE Electronics Reflexion Filter Pro as I needed to record actors for this promotion, so in combination with the Eggs it’s been a very effective system.

Since then I’ve just premiered new work written with Joel Cadbury of Unkle / South fame which we were commissioned to compose for The Big Dance, a massively ambitious project culminating in a 45 minute live show in Trafalgar Square with 1000 dancers on 14th July 2012, and then broadcast on Channel 4 TV. In addition I composed a new campaign for designers Commes des Garçons, created a sound installation at the ICA in London for their Soundworks show and Stockholm’s Bonniers Konsthall museum and Canta Ballet – an ambitious project working with 40 ballerinas from the Dutch National Ballet and 60 disabled car drivers, for live performances in Amsterdam in June 2012.

I also premiered a massive new project at the Brighton Festival with Heritage Orchestra, Live_Transmission, re-scoring and writing new works based around the UK band Joy Division, so the Eggs were working flat out through rocked-out orchestral mixes! Future live recordings of this show will be mixed down on this same set-up.

July 2012 will continue to be busy since I have also composed a work for The British Business Embassy in London that will open for the Olympics, representing the finest of British digital culture which I am apparently representing, scary as that may seem. Dignitaries and sports celebrities will be experiencing this work for the duration of the Olympics.

And for an especially royal occasion I’m premiering a new work for choreographer Kate Prince at the Royal Opera House in London on 23rd July for a new dance work to be attended by royalty. So these Eggs are indeed Royal Eggs!

Q: Is there a situation that stands out on one of your past recordings where using your sE Munro Egg 150 system would have proved invaluable?

A: Absolutely. Last year I was working with United Visual Aritsts on Origin, a large-scale LED sculpture, which used a very complex software system and I was commissioned to create the entire sound language for this installation. Since we were using a multi-channel system with massive sub bass speakers I had to design separate channels with the different tonalities and frequencies and it would have been lovely to at least heard most of the bass response.

Q: What are you working on right now?

A: My work pattern rarely slows and at present I’m working on a host of projects in which the Eggs and Reflexion Filter will play key roles. I’m just finishing up the score and sound design for a new film for BMW bikes in France, am currently scoring a feature film this month for the Sundance Film Festival. I’m working on recordings with a number of artists at the moment, from Gazelle Twin electronica, David.I.D and even a playful project with members of Aha and Coldplay.

Q: Would you recommend the sE Munro Egg 150?

A: Absolutely, they exhibit a very controlled, well-made, solid construction. Remarkably easy to set up, with the addition of being able to adjust the speaker angle which is very practical... and who can ignore the blue laser set up which is so handy? The separate amplifier works well as I can easily make comparisons via CD and MP3 player. And who can deny it’s just a fine-looking creation? Everyone who visits the studio comments on the sheer originality of the design!

Q: What is your overall impression of sE gear?

Superbly built, magnificently-tuned products to make the journey from the imagination to the world at large as finely tuned and as fluid as possible.

Thank You Scanner! Robin initially auditioned the sE Munro Egg 150 Monitoring System via the loan service offered via the sE Electronics UK distributor, Sonic Distribution. If this article has inspired you to check out the Eggs in your studio via the sE loan service, contact your local sE distributor. If you are based in the UK and wish to find out more about the sE Munro Egg Loan Service, visit Sonic Distribution.

Sonic Vista Academy

Thu, 24 May 2012 00:00:00 +0100

Sonic Vista Academy News: Sonic Vista Studios, one of Ibiza's most highly respected recording studios has launched a special educational programme - Sonic Vista Academy (SVA). In association with sE Electronics and Recording Community plus other partners including Beatport and Icon Collective, Sonic Vista Academy officially opens to welcome students to the world capital of electronic music in the summer of 2012. Paul Nolan of SVA comments:

"We are working very closely in partnership with sE Electronics and the Sonic Recording Community to bring a whole new educational experience to any serious musician, DJ and Producer. There's going to be a great range of resources, from lectures and masterclasses to week long development programmes. We're here to help you get to the next level, and offer incredible experiences! Love from Ibiza x"

From the Sonic Vista Academy Press Release:

Situated at the stunning location of Sonic Vista Studios in San Jose, where such artists as Lady Gaga, Swedish House Mafia, Steve Lawler, 50 Cent, Akon and Taio Cruz have recorded, Sonic Vista Academy brings together some of the world's foremost experts in the music, film and games industries, with a unifying focus to develop the next generation of musical talent.

Students inevitably have important questions to ask about what they face when entering the industry, which most traditional education providers struggle to answer. Whilst undertaking the week-long SVA Development Programme, we aim to give aspiring Artists, Producers and DJs the answers they need to take their careers to the next level.

The world class team of mentors assembling at Sonic Vista Academy represent the various fields of Pop, Electronic, Rock, Film and Game Music, combined with revolutionarytraining techniques, and masterclasses from influential industry figures.

Leading the team is SVA co-founder Paul Nolan, who has made a name for himself as one of the foremost audio engineering and music industry educators in operation in recent years. His involvement with world class brands such as Burn Studios, W Hotels, Vestax, Cream & SAE pay testament to both his industry experience and skills as an educator.

Joining Paul is the founder of Sonic Vista Studios, Henry Sarmiento, whose unparalleledexperience spans over 20 years for his native New York, to Ibiza via Herbie Herbert'sprivate studio in California.

Also joining the team at SVA is music industry legend Andy Taylor, formerly of Duran Duran and a hugely experienced and influential figure in the world of Pop Music. Other team members include Michael Hoenig, a former member of electronic godfathersTangerine Dream and award winning composer of music for films such as Koyaanisqatsiand TV's Dark Skies, and Jamie Porteous, formerly of RockStar Games, have essentialknowledge on the art of writing and getting your music into Films, TV and Games.

Student registrations are now open, and all information can be found at www.sonicvistaacademy.com (launching 24th May). More team members, announcements and programme information will be made in the coming days via Sonic Vista Academy Twitter, Sonic Vista Academy Facebook and SVA website. General and press enquiries can be directed to info@sonicvistaacademy.com or via telephone on +44(0)7796302751.

Sonic Recording Community

Sonic Vista Studios

Dave McMurray Album I Know About Love Recorded with sE

Mon, 23 Apr 2012 00:00:00 +0100

From the Grammy’s to MTV Video Awards, Bonny Raitt to The Rolling Stones, Dave McMurray has performed at top flight level for decades… now he uses the sE Gemini II for all of his most important work.

sE Endorsee: Dave McMurray
Occupation: Saxophonist
Artists: Don Was, Bonnie Raitt, BB King, Herbie Hancock, Bootsy Collins, Rolling Stones and many more
sE Electronics Microphone: Gemini II

Key Quote:

“The Gemini II has superb clarity in the top end, coupled with the kind of full bodied sound you’d expect from a world class tube mic… stunning!”

Dave McMurray has drawn comparisons to Grover Washington Jr., one of the most popular and influential saxophonists of all time. While a fine compliment, it somewhat misses the point though; this Detroit native has a sound that is truly his own. Considered one of the finest avant-garde saxophonist in his early years, McMurray has shown a special talent for genre-crossing. He has worked with a diverse range of artists, including Bob James, KEM, Don Was (Was Not Was), Bonnie Raitt, Albert King, BB King, Geri Allen, Herbie Hancock, Bootsy Collins, and The Rolling Stones.

Dave McMurray debuted as a leader in 1995 with 'The Dave McMurray Show' on Warner Bros. 'My Brother and Me: The Best of Dave McMurray' is a compilation of the three subsequent albums he recorded for the HipBop / Silva Screen label. In 2010, Dave played for 4 days at the Dirty Dog Jazz Café in Detroit with a stellar quartet that included pianist Luis Resto, famous for his work with Eminem and Jay Z, bassist Paul Nowinski, and Detroit drummer Ken Scott, who has played with Dave for several years…the result is 'Live at the Dirty Dog'.

'I Know About Love' is Dave McMurray's latest release and is a collection of hypnotic grooves featuring Bob James, Sweet Pea Atkinson, Herschel Boone, Luis Resto, and vocalist Jessica Wagner-Cowan. Soul Brother Records 'I Know About Love' Review: "Excellent Smooth Jazz and Fusion album".

In recent years, Dave has been recording and performing with Kid Rock, playing sold out shows across the world. He has played every major USA TV special, including the Grammy’s, American Music Awards, The Country Music Awards, and the MTV Video Awards.

Dave’s McMurray's recording studio, ‘The Highlife Room’, is a small Avid Pro Tools studio. Dave McMurray:

“The sE Gemini II microphone has been instrumental in recording my latest CD, entitled 'I Know About Love'. I use it on pretty much everything these days, and it’s become my mic of choice for everything taking pride of place in a mix… I used it to record all of my saxes, flutes, bass clarinet, and vocals on the new album. It has superb clarity in the top end, coupled with the kind of full bodied sound you’d expect from a world class tube mic… stunning!”

“The Gemini II has been invaluable to me, changing the way I work because it enables me to record high quality vocals, and warm saxophones in my own studio. I only go to outside studios to record drums and to mix. There’s no doubt it’s going to get a lot of use on my forthcoming projects too…”

sE Electronics Gemini II Valve Microphone

Stokley Williams of Mint Condition Talks Studio Gear with sE

Mon, 23 Apr 2012 00:00:00 +0100

Mint Condition Music Gear and Tour News: Lead singer of the band Mint Condition, Stokley Williams, on Mint's studio gear, two Grammy nominations and the sE Gemini II valve mic.

Mint Condition are a global R&B phenomenon – Stokley Williams talks about Mint's early days and how they now rely on sE mics for their vocal sound.

sE Endorsee: Stokley Williams / Mint Condition
Occupation: Singer, Musician, Artist
Artist collaborations: Prince, Janet Jackson, Alicia Keys, Usher, Sheila E., Gladys Knight, Toni Braxton, Jill Scott, The Isley Brothers, Kenny G and many more
sE Electronics Gear: Gemini II, sE4 Stereo Pair, Reflexion Filter Pro

Key Quotes:

“For me the Gemini II doesn’t just rival many of the mics I’ve tried, but surpasses them … it just does what a great mic is supposed to do.”

“With the Gemini II, I don’t have to do a lot of extra dialling-in to get it to sound good. It just does.”

“sE seems to be taking what the pioneers have done and really raising the bar.”

Stokley Williams started playing percussion with African dance troupes at the age of 4 and by the age of 9 moved on to full drum kits and steel drums.

“Like pretty much all of us in Mint, my parents loved music and really encouraged me. Singing was something I just did for fun around the house to whatever was playing at the time, Al Green, Bob Marley, Earth, Wind & Fire to name but a few. Everyone who came around to our house (where pretty much every band I ever played with rehearsed), left their instruments in the basement so I would just pick them up and start to play. I developed a love and respect for every instrument and soon realized, with the help of a couple of good teachers, that music is a discipline… put simply, you get out what you put in. ”

At High School, Stokley met a couple of like-minded musicians and his life changed forever.

“We went to a performing arts type of school which had a recording studio. Me and my new music friends were all in the studio class learning about sound, EQ, the dynamics of a room etc, at the same time we were learning about song structure, theory and the fact that music was kind of a girl magnet! We played behind a few local singers, but every time we got together and played, we felt it was magic. We thought since this feels right let’s just be our own band and not just play for other folks.”

The band 'Mint Condition' was duly formed. Mint Condition have gone on to record, play for or tour with: Prince, Janet Jackson, Alicia Keys, Usher, Sheila E., Gladys Knight, Toni Braxton, Jill Scott, The Isley Brothers, Kenny G, just to name a few. They continue to record & play to audiences worldwide, putting out records on their own ‘Cage Bird’ Label. Mint Condition have recently posted on their Facebook page:

"To All Our Fans & Friends – We have lots of live dates coming up in the next few weeks, and we want to make sure you know about them all..For event or ticket info please visit here. We hope to see you on the road, and please remember to always support live music!"

Stokley and Mint Condition have a private studio with everything pretty much set up and ready to go the whole time, a must for a working band that are so prolific. The studio boasts several drum kits, a Fender Rhodes, a few Fender, Marshall and Line6 guitar amps, an assortment of guitars and basses, steel drums and a lot of percussion. There’s also an old Roland JX-8P, a Micro Moog, and for monitoring Mackie HR824’s and Yamaha NS10’s.

Stokley’s main work horses and the core of the studio are Apple Logic and controllers, a Mackie ONYX 1640, an M-Audio 88 keyboard controller, Native Instruments Machine, the sE Gemini II and sE Reflexion Filter Pro. ”Everyone in Mint has a similar variation of this setup.” comments Stokley.

Stokley Williams heard about sE mics from a friend who was raving about them, tried them and has been hooked ever since:

“Me and the guitar player for Mint, O’Dell, both use the Gemini II with the sE Reflexion Filter... It's front and center on everything I’m singing on. For me it doesn’t just rival a lot of the mics I’ve tried, but surpasses them; and the Reflexion Filter means I always get a consistent room sound which is so important, especially if you are recording in different studios.”

“I have a few mics in my arsenal that are great but the sE4’s & Gemini II seem to fit inside the mix of pretty much everything that I do… I only use something else if I’m going for a low fidelity vibe on purpose. They have their own really distinct personality and capture the mood and style of what I want perfectly.”

“When I’m cutting drums, I run the sE4 pair for overheads in x/y configuration. I run them dry, with no EQ or processing because the mics are already very dynamic and honest. It also depends on what room you’re working in of course…. If it’s kind of ’boomy’ then you may have to play with the mic placement to work the room a little.”

“For vocals I use the Gemini II, going through an Avalon 737. It’s a seamless and versatile combo for me because it can be punchy, smooth, warm, and can cut through the mix all at the same time, which I need in a mic to be able to follow the dynamics of my voice (or anyone else’s that comes and records here!)… The Gemini just does what a great mic is supposed to do.”

“I’ve used the Gemini II and sE4 in this set up with Mint Condition on ‘Living the Luxury Brown’, ‘eLife’, ‘7’ and currently in the production for the new CD… and on other projects / groups I’ve worked with; ‘Ursus Minor’ which is a mash up of many different styles, The Cable TV show ‘Way Black When’ on the TV-ONE network, to name but two."

Mint Condition received Grammy Nominations for ‘Not My Daddy’ from the latest album ‘7’ - 'Best R&B Song' and 'Best R&B Performance', and the mic used to record this track was (drum roll) .... the sE Electronics Gemini II.

“There will always be projects where you just want to try something different, so I worked on a couple of things where I put up some other mics... the songs did not come out the way I wanted - to put it mildly! The lead mic was just way too inconsistent. In one take, the sE Gemini II once again rang thru like a champ.”

Mint Condition are working on their next CD and Stokley has various production projects including musical direction for his son’s school theatre production!

“There are so many things to think about when making records, it’s crucial to know you’ve got gear you can trust... when you don’t have to think about whether something is going to work for you, it allows you to be more creative. With the sE Gemini II, I don’t have to do a lot of extra dialling-in to get it to sound good. It just does. I just angle it the right way and I’m off.”

“Talking of being creative, one thing I love to do when I’m doing harder-edged stuff with drums is to use steel trash cans. I put the Gemini II inside the can and then place the can a little ways in front of the kick drum. It makes the air sound crazy. I was thinking about using various sizes as well just to experiment. I love to try things out and experiment with different tones. That’s what this is all about right?”

“I really think that sE is on the cutting edge of technology, they seem to have one foot in the future and one in tradition. It shows when you align yourself with the likes of Rupert Neve. There are a lot of great companies that have had their day, but sE seems to be taking what the pioneers have done and really raising the bar.”

Christopher Brooke on Voice Over and the Reflexion Filter Pro

Fri, 20 Apr 2012 00:00:00 +0100

Christopher Brooke is Mastering Engineer at Audio Network; he also produces their monthly podcast and relies on the sE Reflexion Filter Pro for his work.

Update 21st April: Audio Network has been honoured with a Queen's Award for Enterprise in the category of International Trade for 2012. Congratulations to Audio Network.

sE Endorsee: Christopher Brooke
Occupation: Mastering Engineer, Producer, Film and TV Composer
Artists: London Symphony Orchestra, London Mozart Players, BBC Symphony Orchestra, BBC Philharmonic, conductors Richard Hickox, Leonard Slatkin and Rumon Gamba and Audio Network composers, including Terry Devine-King, Bob Bradley, Barrie Gledden and Chris Egan
sE Gear: Reflexion Filter Pro, Stand 1, Gemini II

Key Quotes:

“It’s amazing how even in an acoustically treated room the sound of the voice can be improved with the sE Reflexion Filter Pro. The Reflexion Filter was the first of its kind and is still the industry standard for vocal treatment.”

“sE build quality as solid as a rock. The Reflexion Filter itself has great build quality and I expect it to be around here for many years to come.”

Christopher Brooke was passionate about music from a young age, with piano lessons from 8 years old leading to studying for the University of Surrey’s Tonmeister degree, with a lot of rock, jazz and swing in between! Chris started his professional career as an assistant engineer and SADiE editor at classical label Chandos Records, working with the country’s finest orchestras, soloists and conductors, including the London Symphony Orchestra, London Mozart Players, BBC Symphony Orchestra, BBC Philharmonic, and conductors such as Richard Hickox, Leonard Slatkin and Rumon Gamba, and contributing to many Gramophone Award winning recordings.

He then managed and produced at a small recording studio, owned by a publisher for a few years. In 2007, Christopher went freelance, covering a range of work from editing and mastering, to production and composing for film. During this time he worked with Posing Productions on the multiple award-winning adventure film: ‘The Asgard project.’ In early 2011, he started a new role as the mastering engineer at media production library, Audio Network Plc and has recently mastered an album for the Daytona Lights, the band launched on the UK TV series, Hollyoaks.

“I work in a very nice sounding, acoustically neutral, mastering studio. I listen on a Blue Sky 2.1 monitoring system fed from a Prism Sound Orpheus. My mastering is done ‘in the box’ using plugins by Waves, Sonnox, Slate Digital, PSP, Izotope etc, running in Wavelab. I also have Pro Tools, Logic and Cubase so I can open projects from our composers if needs be. Sometimes there might be call for in-house mixing or recording. I also produce our monthly Podcast in the studio.”

“For the podcast and any other vocal work that I need to record, I’m using the sE Reflexion Filter Pro with the heavy duty sE Stand 1. It’s amazing how even in an acoustically treated room the sound of the voice can be improved with the sE Reflexion Filter Pro. The Reflexion Filter was the first of its kind and is still the industry standard for vocal treatment.”

“I’m using the RF Pro and Stand 1 for voice recording, be it speech or singing - mostly for producing our podcast. As a company, we’re known for the very high quality of our music, so the monthly showcase of our latest releases can’t afford to sound amateurish. I need a close, dry ‘radio voice-over’ sound which I can get much more easily when using the Reflexion Filter."

“sE build quality as solid as a rock. The Reflexion Filter itself has great build quality and I expect it to be around here for many years to come. The stand is great – proper heavy duty. It can easily take the weight of the filter and a heavy mic like the Gemini II, without stressing you out that it’s going to let your prized possessions fall over!"

“My top tip with the RF is don’t be afraid to experiment with how far forward / back you place the mic in the filter. Small changes can make a big difference, and you can use it to create a neutral environment, or to colour the sound if you use it in extreme positions."

sE2200a II C is the sE2200a MK2 Mic - The sE2200a II Cardioid

Fri, 20 Apr 2012 00:00:00 +0100

sE2200a II Cardioid News: The classic sE Electronics sE2200a gets a face lift with the sE2200a II Cardioid.

The sE2200a II C is a cardioid-only sE2200a II and compliments the recently launched sE2200a II Multi-Pattern which has cardioid, figure of 8 and omni polar patterns. The sE2200a has been the UK's best selling large diaphragm condenser mic, so why change it?

The sE2200a II Multi-Pattern was launched in early 2012 to replace the Z3300a. Both models of the second generation of sE Electronics 2200a feature the same custom, hand-crafted 1" gold-sputtered diaphragm as the first generation sE2200a but are finished in the new sE black, rubberised livery. The sE2200a II C also sports the new sE universal shockmount (included). Find out more about the sE2200a II C - sE2200a II Cardioid.

Face Britain Song by Kola: Driver For The Queen

Thu, 19 Apr 2012 00:00:00 +0100

Face Britain is the UK’s largest ever mass collaborative art project. Kola are a band from Cornwall who you could think of as 'Fleetwood Mac' in flip flops. Kola have recorded the soundtrack to Face Britain 'Driver For The Queen' using sE Electronics microphones.

Face Britain was designed by The Prince’s Foundation for Children & the Arts, to celebrate the nation’s children and young people during the lead up to HM The Queen’s Diamond Jubilee and the London 2012 Olympic and Paralympic Games.

Between September 2011 and March 2012, thousands of young people’s self portraits were uploaded to the Face Britain online gallery. Every portrait has been used to form part of a montage image of HM The Queen, projected onto the front of Buckingham Palace to herald the start of the Jubilee and Olympic celebrations.

Kola are a folk band from Cornwall who evolved over the winter of 2010. After a bleak cornish winter in the Orphanage recording studio, Ryan Jones emerged with the sound of Kola. Joined by Annie Baylis Gray on keys, violin and vocals, old freinds Daniel Cole on acoustic guitar and Harry Harding on drums, Kola were ready to bloom. Obvious influences can be heard in Kola’s music from bands such as The Water Boys, Fleetwood Mac and The Kinks but Ryan states his biggest influence as coming from ‘The Band’.

'Driver To The Queen' is available on iTunes alongside Kola's debut EP 'Ruins' which features Ryan's sE Electronics Z5600a II microphone on the cover. Indeed, that's how sE first heard about Kola - the band tagged sE on their facebook page when they launched 'Ruins' in the Autumn of 2011.

Watch the Face Britain video featuring 'Driver For The Queen' by Kola here and listen to the beautiful sound of Kola (with or without your flip flops) recorded with sE Electronics microphones. The Face Britain Video was produced and edited by Rusty Gray of vProject as was this beautiful song 'Black Cats' featuring Ryan and Annie, an acoustic guitar, the sE Rupert Neve RNR1 ribbon mic and a pair of sE4400a mics for vocals.

Music Production Show

Wed, 18 Apr 2012 00:00:00 +0100

Music Production Show London 2012

Update 17th Oct 2012: WIN Music Production Show London 2012 Tickets > More

Update 26th June 2012: The 2012 Music Production Show will be held at the Emirates Stadium on Friday 23rd and Saturday 24th November. The London Music Production Show will be open from 10am to 5pm each day. Keep an eye on Recording Community for your chance to WIN tickets to MPS London 2012.

Music Production Show News 10th May 2012: The Music Production Show 2012 scheduled to take place over the Diamond Jubilee weekend at Old Trafford in Manchester has been re-scheduled for the Autumn.

The MPS 2012 website states: "MPS has been postponed. We apologise for any inconvenience caused." The Music Production Show organisers have commented that Music Production Show London 2012 will be held at a venue and date to be confirmed but it is likely to be the Emirates stadium in November.

Sonic Distribution (UK distributor for all sE brands, Apogee, Waves, Ghost Acoustics, Ear Bombz, Zaor and Rupert Neve Designs) are disappointed (you could say "one is not amused") not to be working alongside Production Room on Friday 1st June and Saturday 2nd June at Old Trafford.

Keep an eye on Recording Community for forthcoming music production events in the North of England.

The six winners of Music Production Show Manchester Tickets (MC Rachi, Andrew Cleaton, Ashley Smith, Caesar Edmunds, Rob Barnes and Jamie Hain) will all receive 2 tickets (instead of one) for the re-scheduled Music Production Show in the Autumn.

Vale Studios Talks Vintage Mics and Neve Ribbon Love

Wed, 18 Apr 2012 00:00:00 +0100

Vale Studios is a residential recording studio in Worcestershire (England) with a 1972 vintage Neve console. Chris D'Adda is owner / in-house engineer of this 'band-friendly' studio set in a Georgian manor house. In this interview with sE, Chris talks about recording with the sE4400a, sE Voodoo and sE Rupert Neve RNR1 Ribbon mics and ‘that perfect sound’. Chris is a firm believer in the use of microphone choice as a primary method to affect the sound of the recorded signal… the mic being arguably the most important piece of kit in the recording chain. He has recently turned to sE to perfect his art.

sE Endorsee: Chris D’Adda / Vale Studios
Occupation: Owner / Engineer (Vale Studios)
Collaborations: Tony Platt (AC/DC), Mike Chapman (Blondie), Rob Ellis (PJ Harvey), Adam Zindani (Stereophonics), Arun Ghosh, Chris Porter (George Michael), Steve Harris (U2, Santana), Anna Calvi, Dodgy and more..
Mics: sE4400a, RNR1, Voodoo VR1

Key Quotes:

“The RNR1's gave a very natural, smooth sound with a hint of 'earthiness' which is incredibly pleasing and non-fatiguing to listen to… beautiful!”

“..recently I've elected to use the sE RNR1's, VR1's and 4400a's in preference to some other highly regarded microphones in my collection.”

“When I take an sE microphone out of its case I know I'm going to get consistent, professional performance and mics that will capture exactly the sound I want. Combine that with the kind of precision build which makes them extremely reliable, and that makes for a very good package indeed.”

Prior to moving to the sticks and opening ‘Vale Studios’, a residential recording studio with 'a vintage feel' in Worcestershire, Chris D’Adda spent ten years in the film industry as a music-video director, but had developed a love of music and recording long before he started down that career path. The rather lengthy gaps between directing jobs allowed him to learn more about sound recording techniques in his spare time and eventually, he started a small business doing location recordings using mostly vintage microphones.

“I am a firm believer in the use of microphone choice as a primary method to affect the sound of the recorded signal… so in this sense the mic is arguably the most important piece of kit in the recording chain”

Vale Studios is built around Chris's baby (not literally), an early '70's Neve 8014 console, running Avid Pro Tools HD and, of course, his collection of vintage microphones.

“Most of my microphone choices are based on comparing the sound of different microphones on the same source; important if you want to make a really informed choice, and recently I've elected to use the sE RNR1's, VR1's and 4400a's in preference to some other highly regarded microphones in my vintage collection. In the case of the VR1's, the ease in which they can be positioned (in contrast to similar sounding but bulkier ribbon mics) has also played a part in my decision to use them.”

“I've been using the RNR1's mainly in stereo pairs on acoustic guitar and string quartets with wonderful results. I can get a very lush, engaging guitar sound with loads of detail but no harshness on picking or fret noise. I have just recorded a B-side in one pass using just two RNR1's on a singer / guitarist; one mic for his voice and the other for his guitar. The RNR1's gave a very natural, smooth sound with a hint of 'earthiness' which is incredibly pleasing and non-fatiguing to listen to… beautiful!”

“I’m about to begin an album project which is almost entirely piano based and the artist has requested a fairly soft, natural sound for the piano. I’m sure I’ll use the RNR1's to get the sound I'm looking for”

Chris has also tried the 4400a's on lots of instruments and they haven't disappointed…

“I was really impressed with how much detail they picked up off the front of a bass drum, while still capturing the weight of the low-end beautifully.”

So, with the performance aspect of the mics putting them in league with a vintage mic collection that any studio wold be envious of, how do sE mics stack up in terms of build quality..?

“What is also rather impressive about sE is that in addition to an excellent range of more traditional style microphone designs, they are simultaneously coming up with innovative products like the RNR1, the VR1/VR2 Voodoo ribbons and, of course, the Reflexion Filters. Most importantly though, with these 'new' products, they are getting it right first time which for me, makes them stand out from the crowd.”

For all recording studio enquiries at Vale Studios see contact details at Vale Studios. Keep up to date with all the latest Vale Studio News via Vale Studios Twitter and Vale Studios Facebook. If you are interested in finding out more about Chris D'Adda's career and Vale Studios, check out this video interview with Record Production.

sE Rupert Neve RNR1

Drum Mics Review Benno Sattler

Tue, 17 Apr 2012 00:00:00 +0100

Benno Sattler is a musician, drummer and producer based in Frankfurt, Germany.

Benno Sattler Talks Drum Mics with sE Electronics

"I am never shy to test and review drum mics blindfold when searching for sound quality, so when I borrowed some sE Electronics microphones, I recorded them parallel to other drum mics I know (or thought I knew) and had the tracks played back to me without me knowing which channel I was listening to...

First impression: the specs of the sE products at hand were already looking competitive on paper, but they really do live up to their claims in real-life sonic comparisons.

Second impression: I really connected with, and in consequence, fell for the Voodoo VR1 Ribbon Mic and the sE4 Stereo Pair in particular.

My 'aesthetic of sound' when recording drums and percussion is determined prior to recording. I like to reflect faithfully the idea of an ensemble. Therefore, overhead microphones are important in shaping the outcome. A pair of sE4 as overhead, a good sounding room, a great sounding kit, 'just add talent' etc. As a rule, I allow myself the luxury of adding one pair of Voodoo VR1 for parallel capture. Both pairs sound so good that the blend can be chosen in post-production.

The sE4 Small Diaphragm Condenser is clear, realistic, warm, brilliant without being over-hyped in the highs, and has remarkable presence in the low end. The VR1 is a touch softer, as if the air in the recording room is a bit heavy (you could say 'rounded') and each band is full and clear. Recording drums for apps, commercials, projects and songwriters leaves me with little time to worry about the sound I get. I found the Voodoo VR1 ribbons along with the sE4 stereo pair give me everything I want from overheads for drums straight from set up... just a great quality sound.

Products made in China usually produce diverse associations in people's heads. Prejudice is often quite far from the truth. Congratulations to sE Electronics for producing these hand-crafted, quality microphones that I have fallen in love with."

Benno comments on his website (which also features some nice sE mic pictures): "Live and / or in the studio I have worked with a whole lot of inspiring musicians and artists. Not all of them are widely known, nevertheless they greatly enhanced my music. Those you might have heard of include: Mike Stern, Hellmut Hattler, Hiram Bullock (r.i.p.), Matthew Garrison, Janek Gwizdalam, Gianna Nannini, Vladimir Cetkar, Julian Smith, Torsten Dewinkel, Christoph Spendel, The Art of Fusion".

Benno's projects include VideoDrumLessonsTV (really, it is what it says - check it out!)

sE4 Matched Stereo Pair

Voodoo VR1 Passive Ribbon

sE Electronics Distributor in Germany is Mega Audio

Andy Bradfield Producer Reviews Rode NT1A Mic and sE X1

Mon, 16 Apr 2012 00:00:00 +0100

Andy Bradfield, one of the UK’s top producers, reviews the Rode NT1a and sE Electronics X1 microphones. Andy talks about how to choose a good mic and what makes the sE X1 really stand out in today's crowded market.

sE Endorsee: Andy Bradfield
Occupation: Producer
Artists: Josh Groban, Rufus Wainwright, Craig Armstrong, David Gray, Pet Shop Boys, Tom Jones, Kylie, Eternal, Spice Girls, Beth Orton, Eric Clapton, Marc Almond, David Bowie, Elbow and more..
Film Work: In Time, Sucker Punch, NEDS, Moulin Rouge
sE Mics / Gear: sE Rupert Neve RNR1, Gemini, Stand 1, Reflexion Filter Pro and now the X1.

Key Quotes:

“…For my money either mic would get you a good recording, but the sE X1 would get our vote, as it is more flexible, with a warm but present sound…"

“The X1 had a really good sound and seemed to just ‘sit’ very well in the track”

“The build quality of the X1 seems much better... it seems the money has gone into the mic, not the packaging and frills.”

Andy Bradfield: "I’ve used the sE Gemini II for several years now as my main vocal mic, so when James Ishmaev-Young of sE Electronics asked me if I’d like to try out the entry level mic in the range, in the shape of the reasonably priced sE X1, and compare it with the Rode NT1A, I was intrigued as to how mics in this sector stack up compared with the high-end gear I normally use… so naturally I said 'yes!'.

When selecting a microphone, I always do a test recording on an actual song with the singer wearing closed headphones to minimise spill and then judge the microphone on speakers. People sing louder and harder when singing with headphones against a track, and this will reveal different performance aspects of the mic in real working conditions… for the same reasons, I always test both loud and quiet vocals in this way.

As a starting point, I want a full range sound that's present, but not overly bright or dull, and that doesn't emphasise the sibilance (sharp ‘s’) too much. Cheaper mics can have a hyped top end which may sound more ‘immediate’ on first listen through headphones but won’t do you any favours in a mix.

For mic selection, it's best to record as flat (i.e. without EQ) as possible, and maybe without compression, although if the compression is very gentle and you do the same for all mics you’re comparing, it won’t hurt. Just remember compressors are level dependent, so any discrepancy in mic level may affect your test.

I would also look for something that tonally ‘fits’ the singer and the song / material, so it’s rarely a case of 'one mic fits all' - build a collection of mics with different attributes! A lot of this process is personal preference of course. As a rule a hyped (EQ'd) sound can be undesirable as it doesn’t lend itself to using EQ on the recorded material, so the track is harder to use in the mix. The preference would be usually to go for a more neutral sound so vocals etc. can be treated in the final mix.

Good bottom-end is also very important, but not too ‘boomy’... the bass response needs to be controlled. Sometimes the room can add to this ‘boominess’ with loud singers, so something to watch for if you record in a small space. An sE Reflexion Filter Pro can help with this, as ideally you want a dry vocal for most modern productions because it allows for easier post processing (ahem... 'tuning' etc) and it's very easy to add whatever space you need to afterwards, so a mic test should be about tonality rather than space.

Applying this to a direct A/B test of the Rode NT1A and sE Electronics X1, here’s what I found…

sE X1 and Rode NT1A: Build Quality

The Rode NT1a comes in a huge cardboard box which houses several accessories… however the accessories are not great quality, which slightly defeats the purpose of having them. Better to spend the money on the mic, after all that’s what you’re recording with! The pop shield with the NT1a is also permanently mounted to the front of the shock mount, so you can’t remove it for, say, guitar use, where it would just get in the way! I can't help feeling that a separately mounted pop shield would be better, and more flexible. So... for the purposes of the test, we used a separate pop shield, so it could be used on both mics, and would be a constant across both.

The sE X1 on the other hand comes in a very 'no nonsense' package. And the build quality of the mic itself seems much better... it seems the money has gone into the mic, not the packaging and frills.

sE X1 and Rode NT1A: How Do The Mics Compare Sonically?

Both mics were recorded flat, not even a filter, to make sure that we were hearing the mics alone with no colouration.

The sE X1 sounded really ‘present’ but not overly-hyped. Great bottom end too, which was a surprise for a mic in this price bracket. It had a really good sound and seemed to just ‘sit’ very well in the track; no fuss! It performed really well on the vocal takes I did, and its ‘voicing’ would make it well suited to a range of instrument applications. The X1 recording was the easier of the two to process and mix after recording, probably helped by the ‘flatter’, more ‘neutral’ middle response.

The Rode NT1a was also quite ‘present’ sounding, but much more hyped in the middle, and not as detailed at the bottom end. Although I used a vocal as the basis for this test, I feel the Rode NT1A is more geared as just a vocal microphone rather than an all-rounder, as it has a very strong ‘middle’ presence peak, which you will either love or hate. I tend towards the latter, although the NT1A is not a bad mic, I personally prefer something ‘flatter’ sounding for vocals as it makes the mic more versatile, and easier to EQ afterwards in a mix.

sE Electronics X1 or Rode NT1A?

For my money either mic would get you a good recording, but the sE X1 would get our vote, as it is more flexible, with a warm but present sound. The 10dB pad and cut will really help in its usage for different applications too which adds to its versatility. Overall, the sE X1 simply feels better built."

Producer Simon Franglen (Avatar, Madonna, Titanic) compares the RODE NT1a and sE X1

This month sE are giving away TWO sE X1 microphones. Find out more here

DV247 Southampton Recommend sE Munro Egg

Fri, 13 Apr 2012 00:00:00 +0100

James Birt's professional career started in 2006 when he became UK National Drummer of the Year (sponsored by MikeDolbear.com). James is registered blind and has been visually impaired from birth. James recently visited DV247 Southampton to audition studio monitors. James:

"Over the past few years, I have been doing a lot of production work, including remixes and writing and was working on an old pair of speakers. I had spoken to a few of my producer friends for studio monitor advice and recommendations. I was thinking of buying the Genelec 8040a monitors so took a trip to Digital Village / DV247 in Southampton to check them out. Steve from DV Southampton set up the Genelec 8040a for me and let me play some of my own songs / mixes that I knew the sound of and they sounded great. I was ready to purchase but then he told me to listen to the same material through the sE Munro Egg 150 Monitoring System....

The sE Munro Eggs blew the Genelec 8040a out the water! I heard subtleties that I have just never heard on any other studio reference monitor (not just the Genelecs to be fair). Imperfections in the mixes were really obvious, which, for monitor speakers, is crucial and I wanted to know more about the Eggs. I was duly sold and took an Egg 150 system home.

I mix a lot of dance music and these speakers are truly great for this. If the bass is wooly and flappy, the Eggs let you know. I’m very impressed with the bass response of the Egg 150 as I find getting the low end right is often one of the hardest things. You can also hear reverbs and little delays that you’ve just never noticed before. Amazing! The reason for even mentioning my visual impairment is to underscore that it's all about the quality of sound for me rather than watching the metres or even what the speakers look like!

After 2 weeks of critical listening, I can truly say I love my sE Munro Egg monitors and would suggest everyone gives them a try! Thanks to sE and Andy Munro for making them and thanks to DV247 Southampton for recommending them. Birty."

James Birt's career took off after winning 'UK National Drummer of the Year' and has subsequntly been endorsed by Mapex drums, Paiste cymbals, Vic Firth sticks, Remo heads, Protection Racket Soft Cases, Hardcase Drum Cases, Baskey Rug Lugs and DfD Drum Heads. James has performed at UK drum clinics with many artists including: Gregg Bissonette (Ringo Starr, LA Session Musician), Billy Ward (Joan Osbourne), Thomas Lang (Drumming legend), Steve White (Paul Weller, The Who) to name but a few. As a professional session musician, James has recorded with multi- platinum producers and played on some great records for people like: Steve Rushton [Son of Dork] (Hollywood Records), Greg Pritchard (Britain’s Got Talent), Brad Kavanagh (Nickelodeon TV star), Katy Tizzard [Blaze] (IBC Representations) Marli Harwood (Universal Records), Martha’s Man, Martin Newnham and Mungo Jerry (In The Summertime LTD) to name but a few. James also plays with functions bands around the country with Tailored Entertainment. James Birt Facebook James Birt Twitter James Birt SoundCloud James Birt Productions SoundCloud

James has performed live with Chesney Hawkes, Modern Romance, UK and Europe’s award-winning beat boxers Hobbit, Reeps1 and Base6, Steve Hampton (The Vapours), Matthew Lee (Italian piano star), OJ’s Soul Band and his current gig is with Artful (Mark Hill ex Artful Dodger):

April 19th – The Cellars, Eastney,Portsmouth
April 20th – Sticky Mikes Frog Bar, Brighton
April 26th – Esquires, Bedford
April 27th – The Boileroom, Guildford
May 2nd – Academy3, Birmingham
May 4th – The Ballyhoo, London (formerly The Bowery)
May 5th – The Cellar, Southampton (formerly The Soul Cellar)

Ticket details can be found at Artful

If you are in the Hampshire area and wish to audition the sE Munro Egg 150 Monitoring System contact Pat, Steve, Andy or Matt at DV247 / Digital Village Southampton (02380 233 444 / southampton@dv247.com) and ask about the sE Munro loan service. Picture courtesy of Adam Prosser.

sE Munro Egg 150 Monitoring System

BPM Magazine Studio Monitor Review

Thu, 12 Apr 2012 00:00:00 +0100

BPM Mag is South Africa's No.1 Urban Music Culture Magazine: BPM Mag

Greg Bester has been checking out the sE Munro Egg 150 Monitoring System:

"After seeing the Eggs on the cover of the UK audio magazine Sound on Sound, my ears were pricked as to how good these monitors actually are and given the hype I’ve heard around their preceding reputation, I must admit I went in to this review with preconceived expectations."

"After unpacking them and installing them into my studio, I used the indicator LEDs as per the instructions in the manual and in no time I had a pretty good position that was true to the stereo image...My first impression was that these speakers are indeed clear, true and flat. They are also capable of decent volume (118dBSPL max) and do not lack in low end."

"A colleague and I commented on how the low notes of an acoustic guitar seemed even and consistent without any sign of note drop outs and the clarity of the strings was stellar. We ended up A/B testing them against some similar sized Genelec 8030a’s and even though the Genelecs had a slightly different tone, we couldn’t decide which speakers we liked better, which says a lot for the sE’s considering the reputation of Genelec."

"The Eggs seemed to offer more in the region between 100 to 150Hz however, which gives them a more punchy sound whereas the Genelecs have a more pronounced upper midrange presence. On the other hand, the upper midrange of the Eggs seems tamed but that does not mean that they lack in top end or clarity as they are smooth and fast on transients."

"The sE Munro Egg 150 Monitoring System is a big achievement for a company who specialises in microphones and I’m sure for the monitoring world in general. They are true, clear and representative monitor speakers that are indeed worthy of the accolades sung at them."

Read full article here

sE Munro Egg 150 Monitoring System

BPM Mag

Andertons Music Recommend sE Munro Egg Studio Monitors

Thu, 12 Apr 2012 00:00:00 +0100

Mark Healey, Co-Founder and Creative Director of Media Molecule, has recently purchased an sE Munro Egg 150 Monitoring System from UK Egg dealer, Andertons Music in Guildford. Mark has told sE Munro that he was looking for a new monitoring system and recently visited Andertons Music for monitor advice.

“I asked at the store ‘what is the best monitoring system?’ and James Hemmings of Andertons promptly replied ‘the Egg’. I must admit I hadn’t heard of the sE Munro brand but took a system to audition in my home studio. After listening to the Eggs in my own environment (they look very cool by the way), I have heard things in mixes, good and not so good. which I didn’t know were there. The Eggs sound fantastic and I have really noticed the difference in my mixes.”

sE Munro Egg 150 Monitoring System

Music Producer Chris Porter Talks Mics, Studio Monitors and more..

Wed, 11 Apr 2012 00:00:00 +0100

Music Producer Chris Porter on sE Electronics, sE Munro Egg 150 speakers and his career from builder to prolific hit-maker!

Chris Porter, one of the world’s top record producers, uses sE Munro Egg 150 monitors in his recording studio at Stanley House Studios (West London). From Bowie to George Michael, he’s responsible for some of the biggest records to come out of the UK… so why sE Electronics and sE Munro?

sE Endorsee: Chris Porter
Occupation: Record Producer
Artists: David Bowie, Tina Turner, Wham, Take That, Pet Shop Boys, George Michael
sE Gear: sE Munro Egg 150, sE Gemini II, sE Reflexion Filter Pro

Key Quotes:

“I’ve recorded just about every instrument possible now with the Gemini II... acoustic guitars, vocals, fiddles, accordion, you name it… It’s beautifully balanced with just the right amount of warmth and crispness.”

“The Reflexion Filter Pro is such an amazing idea, cleverly designed and very effective. It helps tremendously in removing much of that less-than-perfect 'stuff' from recordings, and improves the focus and balance of the microphone.“

“As soon as the sE Munro Egg 150’s arrived, literally within hours, my PMC TB2S went on eBay! …the most compelling reason being that the Eggs are the most refreshingly different speakers I have heard in many years.”

“The sound stage on the sE Munro Egg 150’s is wide and natural, the midrange very clear and the bass is impressive, not at all cloggy, and they are easy to ‘understand’ at even low listening level.”

Chris Porter has become one of the most successful record producers to hail from the UK after 32 years in the business, working with some of the biggest acts in the world from David Bowie, to George Michael and Take That… but it wasn’t always that way…

1972, and Chris’s band came second in TV’s ‘New Faces’, and as Chris recalls “we came second to Lenny Henry!”. Micky Most was one of the panellists and, shortly after this performance, signed Chris and Andy Duncan who then both moved to London… “We both thought we’d got it cracked and within months we’d be stars”. Of course it didn’t turn out that way and Chris ended up working in an employment agency, doing a short stint in the fashion business, and doing odd music jobs providing backing vocals etc… after four years of this though he decided to be painter and decorator and gave up on stardom and fame… or so he thought!

Chris eventually ended up working on a building job for Phil Lynott of Thin Lizzy, who wanted an 8 track studio set up in his garage in Kew, West London.

“Phil was working on ‘Live and Dangerous’ with Tony Visconti at the time, in Good Earth studios. Tony wanted his live room at Good Earth made more sound proof so he could use it as a nice live drum room… I ended up building office partitions etc, the whole works, and worked there for about four months. Until then I’d never even considered the idea of being an engineer or producer, but the more I saw on the other side of this door I was not allowed into, the more it seemed very mysterious and alluring. Watching the process of what started as a live recording, being manipulated into a finished product, was thrilling… probably made more so because I was kept at a distance from the whole thing, being a builder!”

“I used to sing around the place in the hope someone would notice that I actually could hold a tune, and eventually Tony Visconti took me to one side one day and said 'you don’t want to be a builder do you?', and offered me a (low paid) job as his assistant engineer."

By sheer good luck, while still working at Good Earth in early 1983, Bob Carter, a friend of Chris’s, asked him to help produce Wham Rap ‘Enjoy What You Do’. As it turned out George and Andrew didn’t pursue the relationship with Bob, but they ended up at Good Earth a few months later with 11 hours to make a B side to ‘Club Tropicana’, called ‘Blue’.

Chris Porter: “We enjoyed working together, I was amenable and patient, and they had very strong ideas of what they wanted to do…” It worked really well and was the start of a 14 year recording and producing relationship with George Michael, stretching from ‘Wake Me Up’ to ‘Jesus to a Child’.

“The only reason George and I stopped working together was because George would book several months of studio time to write in the studio. To begin with that worked really well, because you needed a team of engineers and techs around you to hook things up, make them work, and record ideas. But as technology progressed, the need to be surrounded by technicians just went away, so I found myself waiting for hours while George had time to himself to work on ideas.”

“That’s how I met the Pet Shop Boys because I was always waiting around at SARM Studios for George! Neil Tennant is one of the most incisive minds in the music business, and we got along really well when he approached me… so well that I ended up working with them on ‘Discography’”.

So with changes in technology over the years, what does Chris’s work place look like these days?

“First up, I think a producer needs their own facility for sure, it’s an absolute necessity... and you need an arsenal of high quality, reliable gear that you know will deliver. I use an old Neumann M49 which I bought from Puk Recording Studios… it’s what I recorded most of George’s tunes with and of course one of my prize possessions is an early AKG C12, but aside from the vintage mics I own, my collection of sE Electronics microphones have occupied an increasingly important place in my studio.”

“I was introduced to sE mics a few years ago (WOW - probably 10 years ago now) by a good friend of mine, drummer extraordinaire Geoff Dugmore (who is also a keen sE user and has worked with the likes of Tina Turner, Elton John and Bruce Springsteen to name but a few). Geoff bought out a mic and insisted I hang it over his head. I duly did and made a mental note to find out more about the company making this glorious 'valvy' looking old school mic, that had a very ‘immediate’ and textured sound. I’ve recorded just about every instrument possible now with the Gemini II... acoustic guitars, vocals, fiddles, accordion, you name it… It’s beautifully balanced with just the right amount of warmth and crispness."

“Along with my Gemini II, I took delivery of the sE Reflexion Filter Pro… such an amazing idea, beautifully designed and very effective. Although everyone would like to work in a perfect acoustically treated room, in reality, today, recordings take place in so many environments that are, to say the least, less than ideal. The reflection filter helps tremendously in removing much of that less-than-perfect 'stuff' from the recording, it also improves the focus and balance of the microphone. Even in a fabulous room the Reflexion Filter can improve a recording, because it really is a ‘neutral’ space.”

“More recently, James Ishmaev-Young from sE has allowed me to trial the sE Munro Egg 150 system. The partnerships that sE have developed of late with such luminaries of our industry as Rupert Neve and Andy Munro, have produced some truly stunning results and are a testament to sE’s standing in the audio industry nowadays.”

“I first met Andy Munro over 30 years ago when he refined the monitoring at Good Earth studios… he also designed my first ‘proper’ studio, and so when I caught wind of this collaboration and read about the Eggs I was confident they would be worth a serious listen... I was not disappointed! I had just installed my own 'Holy Grail' of main monitors, PMC MB2s XBDs, and for a few years had been using PMC’s TB2S as my nearfields; now I still think these are lovely speakers, but as soon as the sE Eggs arrived, literally within hours my TB2S went on eBay!”

“Part of the reason for this was that the mains and nearfields (not surprisingly) shared too many characteristics, but the more compelling reason was that the Eggs were the most refreshingly different speakers I have heard in many years.”

“The first thing that struck me was the lack of the sound of a 'box'. I don’t know quite how to describe this, but with most near field speaker systems you are always somehow aware of the physical construction. The Eggs don’t suffer with this problem at all. The enclosures are not apparent to the ear at all. The sound stage is wide and natural, the midrange very clear and the bass is impressive, and not at all cloggy. They are easy to ‘understand’ at even low listening level which is another plus for me. The amp comes in its own 19” 2U rack and is as solid as you would expect from sE, with superb quality, custom made leads… and the Eggs themselves look just great. I’m really enjoying working with them.”

So back to artists, and Chris’s longest standing musical relationship, with Chris De Burgh, someone who has seen a lot of use from sE products, and who’s new work Chris Porter will be mixing on his sE Munro Egg 150’s…

“I have enjoyed a long relationship with Chris De Burgh having produced all his albums since 1998. Chris is a true professional and a talented performer, and working with him has given me the opportunity to get my teeth into some intriguing projects, and to have been involved with lots of international collaborations. Most of all though, I will always be grateful for the opportunity to have worked with the huge orchestras that have graced some of our work. To be in the studio with 100 plus musicians and a rock band at the same time is one of the most exciting things a producer can do.”

Finally, after having worked with so many top stars, can there be anyone left that Chris wants to work with?

“Oh yes… but that would be telling right?!”

sE Munro Egg 150 Monitoring System

Futures Band Ant West Talks Studio Monitors

Tue, 10 Apr 2012 00:00:00 +0100

Futures are a four-piece rock band from Buckinghamshire, England. Ant West has kindly sent us this picture of his recently purchased sE Munro Egg 150 Monitoring System and some wonderful Egg feedback:

"I've tried listening to other monitors since I've had the sE Munro Eggs, but it's just not the same experience. I can't see myself ever wanting to use anything else, sE Munro have now set the benchmark.."

Futures band are Ant West (Vocal, Guitar, Engineer, Producer), Casey Roarty (Guitar), Christian Ward (Bass) and George Lindsay (Drums). In February 2011, Futures went into the studio to record an album with Grammy Award winning record producer, Gil Norton (coincidentally another sE Munro Egg System owner). In May / June 2011, the band played their second sold out UK tour, with support from ‘Lower Than Atlantis’ and ‘Pegasus Bridge’. They released the single, 'Start A Fire' on Mercury in November 2011 and embarked on 'The Far Reaches Tour'. Since then the band have been gearing up to release their debut album, since it's recording in April 2011. However, the band has just announced (April 2012) that they have decided to leave Mercury Records, with a statement made by lead singer, Ant West, to their fans:

"We have been restricted over the past 2 years as to how much music we have been able to share with you. This has been one of the most frustrating parts about being signed to a major record label, no longer being in control of releases. We recorded our album 1 year ago and it is yet to surface so we decided to take the matter into our own hands. We wrote 56 songs for our album and you guys have only had access to 2 of them, we’ve wanted to give you more but it’s been an impossibility. Today, we decided to leave Mercury Records, and the team there were kind and understanding enough to let us take our album with us."

Futures have postponed their upcoming April tour to July and stated that the album will be released in June 2012 on their own independent label, Indigo. Futures also released the track, 'Swim Teams' (mixed on sE Munro Eggs) as an apology for those who had bought tickets to the tour, and thanked them for being patient for the past year. We have a full interview with Ant West coming in the summer. Futures are currently working on a video documentating their transition from major label to independent. In the meantime, Ant talks monitors:

“I've been recording and mixing bands since I started my own band at high school, with the studio being my most creative outlet as a musician. I've used my fair share of terrible monitors since I started at 16, and I can't help feeling I've hit the ceiling of the monitor world. I've always struggled to find a monitor that is versatile across the whole spectrum of a mix, and it's something that I had to use both ADAMs and KRKs to achieve when mixing. The sE Munro Eggs deliver a real punch, and when it comes to mixing drums they really are in their element.”

"Listening to old mixes on the eggs really brings out the imperfections, they're not a monitor that will gloss over a mix and tell your ears, ‘That'll be fine’. I've mixed 2 albums on these monitors now and, the sometimes painful task of referencing between monitors is over for me as I know that the Eggs are true to everything I've heard on them, with every corner of every mix exposed. I can't see myself ever wanting to use anything else, sE Munro have now set the benchmark for studio monitors."

Futures Facebook for July Tour Dates and more info.

sE Munro Egg 150 Monitoring System

Rode NT1A or sE X1? Simon Franglen (Avatar, Madonna, Titanic)

Sun, 01 Apr 2012 00:00:00 +0100

Simon Franglen is one of the world’s most successful producers – here he talks about the sE Electronics X1 and Rode NT1a microphones.

Simon Franglen’s production credits read like a who’s who of the music and film industry. He’s worked on some of the biggest blockbuster movie soundtracks of all time and with some of the biggest superstars in the world. sE asked Simon to review our entry level condenser microphone, the sE X1, a mic that competes with the mass automated brands on price but has a hand crafted capsule like ALL sE microphones... the results may surprise you..

sE Endorsee: Simon Franglen
Occupation: Producer (AIR Studios)
Projects: Avatar (Grammy, Golden Globe and World Soundtrack Award Nominations), Titanic, Moulin Rouge and many more
Artists: Madonna, Celine Dion, Barbara Streisand and many more
Mics / gear: sE4400a, sE Rupert Neve RNR1, sE Rupert Neve RN17 Stereo Pair, sE X1

Key Quotes

“…we chose the sE X1 over the NT1a for the vast majority of the recordings, because the recordings sounded 'righter' when put into the middle of tracks - we could do more with them in mixing and the end result was better.”

“The sE X1 shows remarkable versatility when presented with a variety of different sources”

“Is the Rode NT1a bad microphone, absolutely not. If it existed in isolation at that price point I'd happily recommend it to someone starting out, it's just the sE X1 is better.”

I was asked by sE to do a blind comparison of two microphones, the sE Electronics sE X1 and the Rode NT1a. We recorded the examples at my new studios, trying to provide identical setups for each mic, and simultaneous recording wherever possible.

We did a number of comparison recordings, using the following gear, Millennia STT-1 mic pre's, Universal Audio 610 Mic Pre, AVID Omni Mic Pres. The levels were matched as close as we could (within about .25dB) on input and then were digitally normalised to the same level to stop any possibility of preferences based on level rather than sound. No compression or EQ was used. The recordings were done at 88.2KHz and 44.1KHz depending on what we were doing at the time.

Both the sE X1 and Rode NT1-A provide very good value for money, I'm impressed at what your money buys. The Rode does add a lot of extras to the package which might sway an impulse purchaser, but in my opinion, the only thing you should be concerned about in a microphone is the sound. Neither would disgrace most recording studios, but then there's the issue of what gives you the best end result. All the bells and whistles mean nothing if the recorded audio doesn't sound good. You have to have a sound that sits well within a recording.

We listened to a number of different sources, and in blind tests, we chose the sE X1 over the NT1a for the vast majority of the recordings. Both provided very good value for money in terms of the recording quality, so why the sE X1? Because the recordings sounded 'righter' when put into the middle of tracks - we could do more with them in mixing and the end result was better.

The simplest analogy I can give is that of Hi-Fi's. Mass produced Hi-Fi's often sound immediately good with their hyped EQ curves (the loudness button effect), but this doesn't give something that satisfies long term. One invariably ends up choosing a less hyped sound from classy manufacturers when given the chance to listen critically. So it is with microphones, an enhanced top and bottom to a sound can often give you an immediate satisfaction kick, but when it comes to doing the things we do to make great recordings, the slightly hyped presence doesn't actually help things. When you add EQ and compression, this hyped sound starts to over-colour everything that goes through it.

The sE X1 also shows remarkable versatility when presented with a variety of different sources. This is important if you only own one microphone.

Is the Rode NT1a a bad microphone, absolutely not. If it existed in isolation at that price point I'd happily recommend it to someone starting out, it's just the sE X1 is better.

Simon Franglen (October 2011)

This month we are giving away TWO sE X1 microphones. Find out more here

Related Article: Producer / Mixer Andy Bradfield (Rufus Wainwright, Tom Jones, Moulin Rouge) compares the RODE NT1a and sE X1 - More

sE Electronics X1

Sonisphere 2012 Cancelled

Thu, 29 Mar 2012 00:00:00 +0100

Sonisphere 2012 Cancelled: sE Electronics HQ and Sonic Distribution (UK distributor for Apogee, Rupert Neve Designs and Waves) is located just a few miles from Knebworth in Hertfordshire, England. It gets pretty crazy round here at Sonisphere time. Today, we've been informed that Sonisphere 2012 is cancelled. From the Sonisphere website:

"It is with very heavy hearts and much regret that we announce the cancellation of Sonisphere Knebworth 2012. Putting the festival together in what is proving to be a very challenging year was more difficult than we anticipated and we have spent the last few months fighting hard to keep Sonisphere in the calendar. Unfortunately circumstances have dictated that we would be unable to run the festival to a standard that both the artists and that Sonisphere’s audience would rightly expect."

"We want to express our deepest regrets to the artists and to thank all the staff, suppliers and contractors who worked so hard with us to try and pull off what has proven to be an impossible task and we know how much they share in our disappointment. We also want to send a huge thanks to the Sonisphere fans who stuck by us and we are so sorry that we can’t fulfil what we set out to do.Ticket holders will automatically receive a full refund direct from their ticket agents. Team Sonisphere."

Here at sE Electronics and Sonic Distribution we hope Sonisphere 2013 will be a reality and hosted at Knebworth.

sE Munro Egg Customer Review: Afterlife Audio Visual Architects (South Africa)

Thu, 29 Mar 2012 00:00:00 +0100

sE Munro Egg 150 Customer Review courtesy of sE Munro African Distributor Tuerk Technologies. Afterlife Audio Visual Architects are based in Cape Town. Craig Shackleton and Wayne Lee Ellis have 25 years of collective experience in the music and entertainment industry. Afterlife Studios have recently purchased an sE Munro Egg 150 Monitoring System. Wayne Lee Ellis of Afterlife Studios:

“For years I have been obsessed with room dimensions, acoustic treatment, pure signal path, multiple audio interfaces… One can easily spend a lifetime on forums researching, debating, tweaking, testing and never really get much done! A few years back when I purchased a set of Adams, it was such a giant leap forward from the previous set of monitors that I never again thought to question the monitors themselves and became obsessed with all the other variables…

After one day with the Eggs, I had the realization why I had been seeking answers all this time, I was never truly happy with my monitoring situation. After one week with the Eggs my entire work flow had changed, I was hearing things in the 40-50hz region I had never heard or felt before. They also arrived at the perfect time, right in the middle of a big project that needed careful cinematic sound design.

The Eggs have totally changed the way I create sounds & appreciate music. I am deeply in love with these curvy Egg shaped monitors and I feel their unique shape is surely one of the secrets that make them sound so delicious.

Thank you Andy Munro & sE Electronics for bringing these into existence!”

If you are based in South Africa and wish to evaluate the sE Munro Egg system, please contact Tuerk Technologies.

sE Munro Egg 150 Monitoring System

Marcus Miller chooses sE Gemini II as No.1 Recording Microphone

Wed, 28 Mar 2012 00:00:00 +0100

Marcus Miller is a Grammy Award winning artist, songwriter and producer to some of the biggest names in the music industry. If Marcus had to choose just one microphone, it would be the sE Electronics Gemini II Dual Valve Microphone. Find out why...

sE Endorsee: Marcus Miller
Occupation: Musician / Producer
Artist collaborations: Miles Davis, Al Jarreau, The Crusaders, Wayne Shorter, Chaka Khan, Kenny Garrett, Mariah Carey, Bill Withers, Elton John, Bryan Ferry, Frank Sinatra, LL Cool J, and many more…
Mics / gear: sE Gemini II Dual Tube Cardioid Condenser Microphone.

In this interview with sE, Marcus talks mics, Miles Davis and more...

Key Quotes:

“I love the sE Gemini II tube mic… If you took a classic Neumann U47 tube mic, then extended the high end range and made it crystal clear, you'd have the Gemini II.”

“The Gemini II has been a revelation… I’ve used just about every mic there is over the years, but if I could only use one mic, the sE Gemini II would absolutely be it."

Marcus Miller was born in Brooklyn in 1959 and raised in Jamaica, New York. He came from a musical family and was heavily influenced early on by his father, a church organist and choir director. By the age of thirteen, Marcus was already proficient on the clarinet, piano, and bass guitar and had begun composing music. The bass guitar, however, was his love and by the age of fifteen he was working regularly in New York City with various bands.

Marcus spent the next few years as a top New York session musician, working with Aretha Franklin, Roberta Flack, Grover Washington Jr., Bob James and David Sanborn, among others. He has appeared as a bassist on over 400 records including recordings by artists as diverse as Joe Sample, McCoy Tyner, Mariah Carey, Bill Withers, Elton John, Bryan Ferry, Frank Sinatra, and LL Cool J.

From 1981, Marcus spent two years on the road with his boyhood idol, Miles Davis:

"He didn't settle for anything mediocre, and this helped me develop my style. I learned from him that you have to be honest about who you are and what you do. If you follow that, you won't have a problem."

Miller subsequently turned his attention to producing, his first major production being David Sanborn's Voyeur, which earned Sanborn a Grammy. Over the years, Miller has also contributed countless hits to Luther Vandross’ repertoire both as a producer and writer, including ‘The Power of Love’ which won the 1991 Grammy for R&B Song of the Year. He has also produced Al Jarreau, The Crusaders, Wayne Shorter, Take 6, Chaka Khan, and Kenny Garrett among many others.

After spending many years as a producer and session musician, Miller focused on his solo career from the mid 90’s, winning the Grammy for ‘Best Contemporary Jazz Album’ in 2001. In the past several years, Miller has also turned his attention to film scoring, composing for House Party (Martin Lawrence), Boomerang (Eddie Murphy and Halle Berry), Siesta (Ellen Barkin), Ladies' Man (Tim Meadows), The Brothers (Morris Chestnut and D.L. Hughley) and Deliver Us From Eva (LL Cool J). He wrote and produced the old school hit, "Da Butt" for Spike Lee's School Daze soundtrack.

Marcus’s studio set up includes several GML mic-pre's and Radial direct boxes feeding into an SSL AWS 900+ SE mixing console. ADAM S3A's / iKey for monitoring and a Prism Sound Orpheus / Logic / Mac Pro System. Marcus's main mic of choice these days is dual tube sE Gemini II.

“I love the Gemini II tube mic… I was really surprised to hear how completely this mic reproduces the higher end of the sound spectrum while still retaining the characteristic warmth of a tube mic. If you took a classic Neumann U47 tube mic, then extended the high end range and made it crystal clear, you'd have the Gemini II… it is today’s U47.”

“I've been using the sE Gemini II on my horns. I play the bass clarinet which has a pretty wide range and sounded beautiful when recorded in this mic. Also on vocals, which sound warm and very ‘present’ at the same time… If you want a more classic warm tube sound, simply play off the mic a little or sing above the mic a little and the sound goes right to vintage.”

Marcus is currently recording his next solo album and using the sE Gemini II on horns, guitars and vocals:

“The Gemini II has been a revelation… I’ve used just about every mic there is over the years, but if I could only use one mic, the sE Gemini would absolutely be it”

Links: Marcus Miller Official Facebook Fan Page, sE Gemini II Dual Tube Cardioid Condenser Microphone

Sound Pressure Level perform Ed Sheeran's Lego House Live at Soho Sonic Studios

Mon, 26 Mar 2012 00:00:00 +0100

Sound Pressure Level are an urban / pop group consisting of Sammie ‘Soup’ Ellard-King, Alex ‘Peas’ Wallace and X Factor 2011 contestant Roxy Yarnold. SPL have been working hard in Soho Sonic Studios (London) recording their debut album ‘The Recipe’ with producers Sefi Carmel and OJ (Ofer Shabi). Watch a live recording of Sound Pressure Level at Soho Sonic Studios in March 2012 performing Ed Sheeran’s ‘Lego House’ here.

This live session was recorded using sE microphones, Rupert Neve Designs hardware and Steinberg Cubase 6.5. Taking centre stage is the sE4400a mic (Roxy), flanked by a pair of sE2200a mics (Alex and Sammie). Ofer’s acoustic guitar was recorded with a sE4 and GM10 small diaphragm condensers. Coincidentally, sE microphones were used extensively on the Ed Sheeran album ‘+’. Here’s an interview with Ed’s collaborator and producer, Jake Gosling, talking sE mics and more.

The Rupert Neve Designs hardware used during the Sound Pressure Level live session were the Portico II Channel (Roxy Main Vocal) and the Rupert Neve Portico 5015 Mic Pre Compressor.

Links: This video was filmed by Family Creative, SPL are managed by U.P.I.A. and the session was engineered by Arie Van der Poel at Soho Sonic Studios, Sound Pressure Level website, Roxy Yarnold on X-Factor 2011 (over 500,000 views), Rupert Neve Designs

Business Thinking Awards 2012

Mon, 19 Mar 2012 00:00:00 +0000

Update 25th September: Sonic Distribution feature in HSBC Commercial Banking Traderadar magazine.

Update 20th June (am) 2012: Sonic Distribution is selected as one of the six HSBC Business Thinking 2012 finalists. Winner will be announced later today! Find out more here.

HSBC Business Thinking 2012 UK Awards: Sonic Distribution WINS regional final of HSBC Business Thinking Awards 2012. Sonic Distribution manufacture sE Electronics microphones, sE Rupert Neve microphones and sE Munro speakers. In the UK, Sonic Distribution also distribute market leading pro audio brands including Apogee (leading manufacturer of computer audio recording interfaces for musicians, producers and engineers), Waves (audio plug-ins for mixing, mastering and recording) and Rupert Neve Designs hardware (microphone pre-amplifiers, equalizers and compressors). Sonic Distribution and sE owner, James Ishmaev-Young, comments:

"We've taken it very seriously and we hoped we would win but didn't expect to. Now it is starting to sink in."

What is Business Thinking?

The Daily Telegraph, the media partner for HSBC Commercial Banking's initiative, Business Thinking 2012, comments:

"Business Thinking is a multi-million pound initiative from HSBC aimed at supporting growing businesses. The initiative offers UK businesses a share in £108m of funding, with 18 regional winners each eligible for up to £6m. A total of 54 finalists, competing in nine regional heats, have also taken part in Thought Exchange visits to Hong Kong, New York, Brazil, Dubai and Paris."

Business Thinking National Final: Winner to be announced on the 20th June

All 24 finalists have been confirmed. Winners are from a broad range of market sectors including cars (Morgan Motor Company), pies (Higgidy) and, of course, pro audio (Sonic Distribution): Higgidy Pies, Earlex Ltd, Morgan Motor Co Ltd, Advance Tapes, Cardinal Maritime Group, RS Clare and Co Ltd, Luxus Ltd, MOON, Pluswipes Limited, Sonic Distribition / sE Electronics, Vets Now, Advanced Sensors, C4L, Burts Potato Chips Limited, Chepstow Plans Services, T B Davies (UK), ES-KO International Inc and Lulu Guinness Ltd.

HSBC Buisness Thinking comment: "We are now in the final stages of finding and rewarding the UK's best and most ambitious business thinker. From nine UK regions, our 54 finalists were invited to attend one of five thought exchanges across the globe. Following a pitch to our panel of judges back in the UK, we have now announced our 18 Regional Winners who are ready to take on the final round of judging.

At the National Final, only one business will be crowned as the overall winner of Business Thinking 2012 and see their existing financial reward doubled up to a maximum of £240,000.The Final will take place over the course of the 19th and 20th June and our Regional Winners will once again face a panel of judges where they will have the opportunity to demonstrate the extent of their business thinking. The winner of Business Thinking 2012 will be announced at an awards ceremony on the evening of the 20th June.

Here is the complete list of regiional finalists.

Business Thinking 2012 South finalists: The Fabulous Bakin' Boys, GG Eco Solutions Limited, LCE Holdings Ltd t/a LCE Architects, Earlex Ltd, Higgidy Pies, The Wand Company. Winners: Higgidy Pies and Earlex Ltd.
Business Thinking 2012 Midlands finalists: Advance Tapes, East End Foods plc, Morgan Motor Co Ltd, Brandenburg UK Ltd, NDC Polythenes Ltd, Zaun Ltd. Winners: Morgan Motor Co Ltd and Advance Tapes.
Business Thinking 2012 North West finalists: MPM Products Limited, R.S.Clare & Co Ltd, Hughes Safety Showers Ltd, ACDC Lighting System, Cardinal Maritime Group, Caldeira. Winners: Cardinal Maritime Group and RS Clare and Co Ltd.
Business Thinking 2012 North East finalists: NDC Polythenes Ltd, Aflex Hose Ltd, Luxus Ltd, Fine Industries Limited, Fired Up Corporation Ltd. MOON (Abraham Moon & Sons Ltd). Winners: Luxus Ltd and MOON.
The Business Thinking 2012 Central and East Regional finalists: Pluswipes Limited, Sealey Power Products, Unit Export Limited, SealSkinz Limited, Sonic Distribution and sE Electronics. Winners: Pluswipes Limited, Sonic Distribition / sE Electronics. Pictured (above) collecting the award on 15th March 2012 are (l-r) Paul Elder (Financial Controller) , Ian Young (UK Sales Director), Rob Case (HSBC), Phil Smith (Sonic Distribution and sE Owner), James Ishmaev-Young (Sonic Distribution and sE Owner), Jeremy Lumsden (Marketing Director). Comments and more pictures from the night can be found on the Business Thinking website
Business Thinking 2012 Scotland and Northern Ireland finalists: Advanced Sensors Limited, Mackays Ltd, Merson Signs Ltd, Breo Limited, BrewDog, Vets Now. Winners: Vets Now and Advanced Sensors Limited.
Business Thinking 2012 South West finalists: Gulliver's Truck Hire Ltd, Clipper Ventures, C4L, Aero Stanrew Limited, Burts Potato Chips Limited, Artemis Optical Ltd. Winners: C4L and Burts Potato Chips Limited
Business Thinking 2012 Wales finalists: Epitiro Ltd, Wild Country Ltd, T B Davies (UK) Limited, Mustang Marine (Wales) Ltd, Excelerate Technology Ltd, Chepstow Plans Services. Winners: Chepstow Plans Services and T B Davies (UK).
Business Thinking 2012 London finalists: Lulu Guinness Ltd, Reliance Fibres Limited, Spheric-Trafalgar Ltd, ES-KO International Inc, Aspinal of London, Waterlogic. Winners: ES-KO International Inc and Lulu Guinness Ltd

AJ Moore 'Harmonics' album recording with Apogee Duet, sE Z5600a and Santi Arribas

Mon, 19 Mar 2012 00:00:00 +0000

AJ Moore and Santi Arribas have recorded and mixed an album with the Apogee Duet and the sE Electronics Z5600a. What else do you need?

A.J Moore is an artist of the highest calibre who has performed in some of the world’s most famous venues from The Royal Albert Hall in London to the People’s Theatre in Shanghai. He has earned the respect from his music industry peers and the admiration of fan forums while performing as guitarist for number one selling classical artists Hayley Westenra, Laura Wright, Jonathan Ansell, Lee Mead and Faryl Smith. Now AJ is set to embark on his own artistic vision with the help of Santi Arribas of The Mixing Factory.

Written, performed, recorded and produced by AJ Moore, the album 'Harmonics' was completed in 2011 and is now available on iTunes. While most instrumental parts and vocals were performed by AJ, 'Harmonics' benefited from the contributions of legendary acid jazz musician Jan Kincaid, drummer of 'The Brand New Heavies'. The strings were supplied by members of Classic FM favourites 'The Pavao Quartet', bass and piano moments by the respected session musician Al Gurr and a couple of electrifying solos by top jazz guitarist, Jamie McCredie. Santi Arribas of The Mixing Factory comments:

"As part of the pre production process, AJ recorded all acoustic guitars, hand percussion, cellos, electric guitars, bass and vocals at his home studio through the sE Electronics Z5600a and an Apogee Duet. We then went to a small private studio where we recorded the drums which were played on all the tracks by Jan. After we had finished recording the drums, we moved on to add more electric guitars and keyboards and re-recorded most of the acoustic guitars and cellos, this was done between AJ's studio and my studio, again using our Apogee Duet systems. The final part of the process was the recording of the backing vocals which were also recorded with the Z5600a valve microphone. A number of session musicians were also involved in the project but all of them came to our studios for every single recording session."

SXSW Music Gear Expo

Thu, 15 Mar 2012 00:00:00 +0000

SXSW Music Gear Expo News: The sE Electronics, sE Rupert Neve, sE Munro and Rupert Neve Designs US Distributor, Fingerprint Audio, have posted on Rupert Neve Designs Facebook this picture live from the SXSW 2012 Music Festival with the text:

"If you are in Austin for SXSW be sure to drop by the SXSW Gear Show at the convention center (no badge required) to say hi!"

This picture includes the sE Rupert Neve RNR1 active ribbon microphone and a Rupert Neve Designs rack of gear. The SXSW Music Gear Expo runs from March 14th to March 17th in the Austin Convention Centre, and is a good (and FREE) opportunity to check out the latest music gear. SXSW Music Gear Expo is open to SXSW registrants from SXSW Music, SXSW Film and SXSW Interactive including producers, sound engineers, media, and SXSW showcasing bands.

For more information, please visit SXSW

Did n't make it to SXSW? Want to read some SXSW blogs? Head on over to Electronic Musician SXSW Blogs.

Sound On Sound iPad App

Thu, 15 Mar 2012 00:00:00 +0000

Sound On Sound iPad App News: The Sound On Sound Magazine iPad App featuring the sE Munro Egg 150 Monitoring System review is FREE. The Sound On Sound Magazine iPad edition contains all the editorial content of the SOS print edition, enhanced with audio and other interactive media. The SOS iPad App is not just PDFs of the print pages. With the new iPad app, you’ll be able to:

Zoom into selected screens and pictures
Navigate via the overview, sidebar and contents page or simply browse the mag
Hear the 'before' and 'after' Mix Rescue tracks, plus audio examples of review gear and recording techniques, via the integrated media player
Single editions of the App can be bought for £2.99, or you can get a 12-month subscription for just £29.99

Get the Sound On Sound iPad App now, download your FREE edition and read Hugh Robjohns full review of the sE Munro Egg 150 Monitoring System on your iPad.

The Mic Store

Tue, 13 Mar 2012 00:00:00 +0000

UK Microphone News: The Mic Store is a UK microphone retailer that has fallen in love with the sE2200a II Multi Pattern condenser.

They say "This Mic Is S***, This Mic Sounds Amazing, This Mic Could Be Yours" on the mic store website.

It is true that the Mic Store was one of the UK first retailers to stock the sE2200a II Multi Pattern and when they say "This Could Be Yours" not only are they referring to their available stock ready to ship for next day delivery but to a competition to WIN the sE2200a II mic.

The Mic Store Competition Question: What is the weight of the sE2200a II?

You'll find the answer and entry form at The Mic Store

Competition ends 31st March 2012 and is open to UK residents only. The answer to the question can also be found on our product page but to enter this prize draw, you must submit your answers to The Mic Store via the entry form link above. Good Luck!

If you are outside the UK (or even inside the UK and want to enter another sE2200a II competition), check out the sE Electronics Google Plus prize draw here.

sE2200a II Multi Pattern

Musikmesse 2012 News Musikmesse Rumours

Mon, 12 Mar 2012 00:00:00 +0000

Musikmesse 2012 News

Our friends at Rupert Neve Designs have introduced a brand new product at MusikMesse, the Rupert Neve Designs 5059 Satellite16 x 2+2 Summing Mixer

YOU can enter to WIN Serial Number 2, autographed, tested and approved by Rupert! Find out more here via the official entry form.

If you are visiting Musikmesse, you'll find sE Electronics, sE Rupert Neve, sE Munro and Rupert Neve Designs on the Mega Audio GmbH stand (Hall 5.1, Booth C54). Come by and say hi!

Musikmesse 2012 Rumours

Contrary to Musikmesse 2012 rumours you may have heard, this was NOT the mystery Rupert Neve Designs product for Musikmesse 2012.

Christopher Nott Interview

Fri, 09 Mar 2012 00:00:00 +0000

Chris Nott talks sE Gemini Valve Mic, Steve Levine, David Lowe, sE Reflexion Filter, Record Producers at Metropolis Recording Studios and more...

sE Endorsee: Christopher Nott
Occupation: Artist / Performer
sE Gear: sE Gemini Valve Mic , Reflexion Filter Pro

Key Quotes:

“It’s surprising how little EQ work the sE Gemini needs, the mic is that good… it sounds incredible, even inspirational”

"So much recording is done at home these days and it’s a big job to properly treat a room in your house, but the sE Reflexion Filter goes a long way towards taming the beast.”

At the age of nineteen, Chris Nott was signed to Magnet Records by Lord Michael Levy. He recorded with Peter Collins at The Vineyard Studios (which later became PWL), resulting in the release of his first single ‘Streetwakin’. Chris went on to record album tracks and a second single, ‘Faithfull to the Fiancé’ with UK Record Producer Steve Levine at Marcus Studios (formerly CTS Studios) in Kensington, England.

Chris is currently working with UK Musician and Producer David Lowe recording a forthcoming album at David’s home studio, The Crust, using a Digidesign (or is that now Avid?) ProTools TDM system version 6.4. David has recorded with and for a host of artists, writing and producing material with Edwin Starr, additional recording and overdubs for Def Leppard, The Cybernauts (featuring Trevor Boulder and Woody Woodmansey from the original Spiders from Mars), Diamondhead, and Ricky Warwick amongst many others. Chris Nott:

“There have been so many developments and improvements in Pro Tools since version 6.4 but all we really need to do is capture a performance which David's system is more than capable of. We are planning to mix with Andrew Lowe at Wolverhampton University’s new 'Performance Hub'. David has a wide selection of recording microphones from Langevin, Beyerdynamic, Sennheiser and Audio Technica. However, my sE Gemini is the first sE mic to be used at The Crust, and it has already proven invaluable. It’s also difficult to ignore Dave’s tears when I take it home, (but not impossible, HAHA!). It’s surprising how little EQ work the sE Gemini needs, the mic is that good… it sounds incredible, even inspirational. And, when I use the mic in my home studio with a very basic audio interface, the results are still fantastic."

”sE products are to be found in every good quality studio you work in, from The Old Smithy (Worcestershire, UK) to Metropolis Studios in Chiswick, London. Incidentally, I was at Metropolis recently for the live version of BBC Radio 2's The Record Producers - it was fantastic!

The sE Reflexion Filter Pro ‘vocal shield’ is to be seen almost everywhere you go, and with good reason. Recently, David used one for vocals and acoustic guitar on Surinder Sandhu’s album ‘The Fictionist’. So much recording is done at home these days and it’s a big job to properly treat a room in your house, but the sE Reflexion Filter goes a long way towards taming the beast.”

If you would like to audition the sE Gemini via the sE Loan Servive mic for yourself, e-mail marketing@seelectronics.com with the subject reference "Chris Nott / Gemini Loan Request" and remember to include your contact details such as country, contact number, studio website.

Stu Kennedy on Music, Mathematics and sE Munro Egg 150 Monitors

Fri, 24 Feb 2012 00:00:00 +0000

Stu Kennedy is one of the most interesting characters in the audio industry; part ‘slightly mad’ mathematician and programming genius, and part highly successful Film / TV Composer… this, you need to read.

sE Endorsee: Stu Kennedy www.stukennedy.com
Occupation: Film & TV Composer / Mathematical Guru / Producer & Engineer
Recent Projects - BAFTA 'Behind The Mask', Torchwood: Miracle Day, BBC 'How To Grow A Planet'
Monitors: sE Munro Egg 150

Key Quotes:

“I demoed the sE Munro Egg and Unity Audio The Rock monitors, and I was just stunned by the response on the Egg 150’s… the superb stereo field definition and the smoothness of response across all the frequencies just made me fall in love with the Eggs and I couldn't give them back”

“I think I lost 2 work days just listening to tracks I'd produced with a new set of ears. I could hear my mix issues much more clearly, but I could also hear where I had got it right. What had been guesswork before, had suddenly become much more objective and definable. “

“I started the BBC documentary on my Genelecs, but moved to the Egg 150’s mid-project and really noticed a difference in my mixes… the tone of tracks I mixed on the Egg 150s sounded much closer to what I expected…”

“The bass response is well defined, clear and big. The stereo field accuracy is amazing; you can close your eyes and point to where the sound comes from."

“They feel rugged and well-built and the rubberised finish is very tactile… and I love the shape! Everyone comments on how cool they look when they come into the studio, even my wife likes them! sE's approach to monitor design is somewhere between mad-scientist and art masterpiece... and I love the result.”

After studying for an HND in Music Production at Newcastle College, in 1996 aged 20, Stu abandoned his dream of working in the ‘impenetrable’ music industry and re-sat his A-Level maths in evening classes whilst working shifts as a Hospital Porter so that he could re-engage with humanity and get a ‘normal’ job. After a 1^st class mathematics degree, wife and 4 kids, 7 years working as a programmer of algorithms in hardware and software, followed by a PhD in applied mathematics, aged 33, he decided it was time to give his dreams another chance! He built his own computer and started trying to make music in his garage. Stu got in with an online community who wrote music for low budget films, as a collaboration, and quickly got trained in how to apply his ideas and make them reality using virtual instruments.

“Having a family to support I realised quickly I wasn't going to be able to buy the sample libraries I needed to do a decent job, so I designed a sample library distribution system, using my programming experience (something I knew the industry needed) and started to sell it to companies whose products I wanted to use but couldn't afford. I sold it on the condition I would also get all their products, and quickly built an arsenal of libraries and was able to start learning how to produce the sounds I had in my head. After hearing one of my tracks via twitter, and realising I needed a push in the right direction, the renowned composer/producer David Arnold offered me the opportunity to create orchestral mock-ups for some of his film scores.”

From there Stu moved on to write on several projects, assisting Dr Who composer Murray Gold on Torchwood: Miracle Day TV series, writing the music for AVIVA Athletic's dramatic Olympics advert 'Paving The Way' and more recently working alongside BAFTA winning composer Paul Leonard-Morgan on a BBC nature documentary and composing the score for BAFTA's own behind-the-scenes documentary. More recently he’s been involved in producing and mixing songs for artists and doing orchestral arrangements for other producers.

Stu’s system is based on two Windows-7 PCs with 6-core i7 CPUs, 32GB of RAM and some SSD drives. He uses a simple M-Audio Firewire 1814 interface with a CME UF8 weighted keyboard and makes use of the DAW Reaper for its flexible routing, rendering and MIDI editing.

“I'd been using a pair of Genelec 1029A for a year or so (and some Yamaha HS50M before that) and found it very difficult to translate my mixes across different systems due to the lack of low-mid detail and virtually no bass response. As I started moving towards more electronic production and band production I really noticed the limitation in my monitors. Alan Branch (producer and mix engineer - Jeff Beck, Sinead O'Connor etc.) was giving me some advice on my mixing for an album and he suggested looking at the sE Munro Egg 150s; he'd been very impressed when he heard them. I'd created a short-list of 3 sets of monitors: Focal Solo 6 Be, Unity Audio The Rock Monitor and the sE Munro Egg 150.”

“I demoed the sE Munro Egg and Unity Audio The Rock monitors, and I was just stunned by the response on the Egg 150’s. The detail was great on both sets of speakers but the superb stereo field definition and the smoothness of response across all the frequencies just made me fall in love with the Eggs and I couldn't give them back. The concept behind these speakers also appealed to the maths geek in me... I can appreciate why geometry can have such a significant effect on sound. In fact my mathematics PhD research involved modelling the chaotic flow of fluids which is caused by specific geometries; so the theory of reducing strong frequency Eigen modes by introducing spherical geometry makes perfect sense.”

“I started by listening to Harry Gregson-Williams & David Buckley's 'The Town' soundtrack. I was shocked how much more I could hear on this very familiar soundtrack, the high frequencies were crystal but not piercing and the dramatic changes in dynamics were accurately followed. I then listened to some James Taylor, Seal, George Benson and started giving all of my favourite tracks a work-out on the Eggs. The presence, placement and life that these tracks had were a completely new listening experience to me. I think I lost 2 work days just listening to tracks I'd produced with a new set of ears. I could hear my mix issues much more clearly, but I could also hear where I had got it right. What had been guesswork before, had suddenly become much more objective and definable."

The sE Munro Egg 150 speakers now get used for all Stu’s work, which covers everything from draft composing through tracking live sessions in his studio, mixing and mastering. When composing for TV & Film, he is often producing the final mix, so the whole process is integrated with the writing phase.

“Sound design and tracking real instruments is all an organic process in building a track, so I need to know that what I'm hearing is consistent and I can trust that is will translate to TV or radio or whatever.”

“So far I have used the sE Egg 150 on a BBC nature documentary I did music for (with ‘Rage Music’) called ‘How To Grow A Planet’. I started the BBC documentary on my Genelecs, but moved to the Eggs mid-project and really noticed a difference in my mixes… the tone of tracks I mixed on the Egg 150s sounded much closer to what I expected on the TV broadcast through my in-built TV speakers, which proves an important point sE Munro make… Well recorded material translates to any medium, but the opposite is absolutely not true!”

Right now Stu is working on developing an album with a singer-songwriter and also composing music for a short film and a cartoon.

“The Egg System will be priceless on each of those projects; I feel I can relax a bit if the tracks sound good in my studio.”

“The frequency response is noticeably smooth across all the audible ranges without any dips or peaks. The bass response is well defined, clear and big. The stereo field accuracy is amazing; you can close your eyes and point to where the sound comes from. I love the fact that the amp is separate and I can just tweak the level quickly or switch them off. I constantly use the AUX input for playing reference tracks from a CD player, something I couldn't do before. They feel rugged and well-built and the rubberised finish is very tactile…

… and I love the shape! Everyone comments on how cool they look when they come into the studio, even my wife likes them! sE's approach to monitor design is somewhere between mad-scientist and art masterpiece... and I love the result.”

www.stukennedy.com

sE Munro Egg 150

Win One of Six sE Electronics X1 Microphones

Thu, 16 Feb 2012 00:00:00 +0000

Update 1st May 2012: April sE X1 winners have been announced on Sonic Recording Community.

May 2012 sE X1 Prize Draw Announced

It's going to be slightly different this month. Thank you to everyone who has entered the February, March and April sE X1 prize draws (as summarised below) by answering sE X1 related questions. This month, we're not asking a question!

To ENTER the May 2012 sE Electronics X1 Prize Draw (again there are TWO sE X1 mics up-for-grabs) all you have to do is 'like' the Facebook Page Sonic Recording Community. The Sonic Recording Community is for musicians, recording engineers, music producers, bands or anyone interested in recording gear, music production techniques and recording technology.

Don't worry if you are not a facebook user, you can still enter by just e-mailing community@sonic-distribution.com with the following text in the title: I'd like to WIN an sE X1 Mic

By entering the May 2012 sE X1 prize draw, you are automatically entered into the June and July sE X1 prize draws. Good luck and we're looking forward to meeting many of you on Sonic Recording Community.

sE Electronics X1 Prize Draw Summary 2012 (Feb, March, April)

From February 2012: "At the tail end of 2011, a group of producers, artists, engineers and press from all over the UK attended blind listening tests of four of the biggest condenser mic brands in the world (Neumann, AKG, Rode and sE Electronics). The aim, to strip away consumer preconceptions created with decades of brand marketing, and compare mics based solely on their performance, their build quality and their feature set. Find out how the sE X1, Rode NT1A, Neumann TLM 102 and APG P220 compared and answer a question relating to this mic shoot out (answer is here in the blind listening test results) and you could win a sE Electronics X1 microphone.

We'll be randomly picking winners every month from the virtual hat for 6 months i.e. February to July and therefore giving away at least 6 sE X1 microphones.

We will ask a question relating to the blind listening test on the first day of each month. If you answer any of the questions correctly, you are entered into the prize draw. If you choose to answer a question every month, you then improve your odds of winning as you will have more tickets in the virtual hat. That said, if you only enter once, you are still entered into all remaining sE X1 prize draws."

From April 2012: "It's going to be slightly different this month as we know many of you have participated in both the February and March sE X1 prize draws (thank you) and we guess you would probably prefer not to read the blind listening test at Sphere Studios again this April (have a month off) so we have another related article for you to read and subsequently find the answer to an easy peasy question.

Furthermore, we're giving away two sE X1 microphones this month. Maybe we should change the title of this comp from "Win One of Six sE X1 Mics" to something else as we're only in month three (of six) and are giving away 5 sE X1 already.

April Question - What are the missing words in the following quote from Producer Simon Franglen (Avatar, Madonna, Titanic). Answer to be found here

“…in my opinion, the only thing you should be concerned about in a microphone is the XXXXX"

e-mail your answer to marketing@seelectronics.com

This is a global competition. Good luck."

MAY 2012 sE X1 Prize Draw

To ENTER the May sE Electronics X1 Prize Draw (again there are TWO sE X1 mics up-for-grabs) all you have to do is 'like' the Facebook Page Sonic Recording Community

Don't worry if you are not a facebook user, you can still enter by just e-mailing community@sonic-distribution.com with the following text in the title: I'd like to WIN an sE X1 Mic

sE X1

Sweetwater sE Munro Egg Review

Tue, 17 Jan 2012 00:00:00 +0000

"..any stress test we could think of, the sE Munro Egg never showed a flaw, never hinted at a weakness. They have the intimacy to handle the most delicate of recordings. It was breathtaking in the truest sense."

Sweetwater Monitor News: On Jan 12th 2012, sE picked up via Twitter the following tweet from Sweetwater Sales Engineer Josh Sites "@sE_Electronics here showing off the Egg monitors. Top-tier nearfields. These have been a long time coming, and it was well worth the wait!".

As a manufacturer, it is always nice to get unsolicited feedback like this (especially when it's from the front line*) but we wanted to know more from @Josh_Sweetwater - there's only so much you can say in 140 characters! sE contacted Josh and asked if he had any pictures from the day and could he pen a small review of the sE Munro Egg 150 Monitoring System. Josh Sites Sweetwater:

"There are many puns and jibes to be made about the shape and name of the sE Munro Egg 150 monitors, but I won't make any in this review. sE Electronics recently visited Sweetwater with Andy Munro to demonstrate and discuss their new monitoring system and I can say there was palpable excitement in Studio A not least because we had digested the science behind these ovoid speakers at Sweetwater (Andy Munro interview) but what we really wanted was to hear them. Sure we wanted to know if these oddly shaped monitors are science or fashion and we wanted to know why a microphone company has teamed up with an acoustician to make non-rectangular speakers but our focus on the day and subsequently of this review is on the most important aspect - how do they sound?

To learn more about the Egg 150 system, we set up the monitors (see attached picture) and brought in another pair of highly-respected monitors for comparison. So, how did the Eggs stand up? If I had to think of a succinct way to describe them, I would say 'effortless', which I suppose is funny since these have been in development for a LONG time. But what I mean by 'effortless' is that any stress test we could think of, the sE Munro Egg never showed a flaw, never hinted at a weakness. They have the intimacy to handle the most delicate of recordings. It was breathtaking in the truest sense. Music filled the room. There were no tweeters, woofers, ports or crossovers - just music. And a very honest reproduction of that music, no smiley faces or hyped anything.

At this point I was sold already. But then we took another path - punishingly loud and aggressive rock. Surely a monitor that can do subtlety so well could not do this justice! And I was quite wrong, and even more happy to be wrong. The Egg gave me loud and gave me aggressive but also did it without being crunchy. It was a little odd to hear this music being conveyed - again - effortlessly. I have never had that experience before. The mix was vibrant and alive, but also in the room. Absolutely surreal. Rock generally isn't recorded to replicate an acoustic event - it is highly augmented. So to then have this music in a room with you, this impossible acoustic actually happening, was amazing.

The Egg impresses me to no end and I truly recommend them. sE and Andy Munro have somehow combined brutal honesty with extreme musicality. There's no chart or graph that can express that combination. Above all else, the sE Munro Egg Monitoring System gets me excited to make music, to mix and to be proud of my work. It makes me want to dig in and tweak every detail. The Egg demands the best out of my work and makes me want to better myself as an engineer... and that is Eggcellent. (OK, one pun.)"

* If you are based outside the US, you may not of heard of Sweetwater. From Sweetwater's Facebook page 17th January 2012 (which has a staggering 100,000 likes): Sweetwater is currently the world's fourth-largest dealer in music technology and professional audio equipment, according to Music Trades magazine. Company owner Chuck Surack founded Sweetwater in 1979, originally as a 4-track recording studio, but soon expanded the company to become a music retailer whose emphasis was pre- and post-sale customer service. The company's Sales Engineers include musicians, audio engineers, and technical experts. Each Sales Engineer works one-on-one with customers of all experience levels, providing buying advice, and helping put together software- and hardware-based systems. Sweetwater is based in Fort Wayne, Indiana.

UPDATE: WATCH MITCH GALLAGHER SWEETWATER SOUND INTERVIEW WITH ANDY MUNRO

Sweetwater

sE Munro Egg 150 Monitoring System

sE Egg Monitor at Sphere Recording Studios London

Fri, 13 Jan 2012 00:00:00 +0000

Francesco Cameli and the new sE Munro Egg 150 Monitoring System at Sphere Studios

sE Egg Monitor News: Francesco Cameli is an accomplished producer, recording and mix engineer based at Sphere Studios.

The sE Munro Egg 150 Monitoring System now takes pride of place in Studio One at this world class recording studio in central London.

sE Endorsee: Francesco Cameli
Occupation: Producer, Recording and Mix Engineer
Artists: Little Mix, Westlife, Ronan Keating, Gary Moore, New Model Army, Nine Inch Nails, Tesseract, Rooster, Nadine Coyle and many more...
Monitors: sE Munro Egg 150 Monitoring System

Key Quotes:

“The Egg 150’s sound astonishingly close in performance to the far more expensive M4 system and easily outperform anything of comparable size and price… not to mention the fact that I can take the Eggs with me everywhere I go!”

“…a very tight, well-balanced sound in a package that does not flatter the material, but rather enables you to hear clearly and accurately what is going on… you simply hear exactly what’s there”

“The Eggs are a very well built, revolutionary monitoring system that sounds exactly the way great monitors should. Focused, balanced and incredibly revealing without any smoke and mirrors"

Francesco Cameli Interview with sE Electronics' James Ishmaev-Young (December 2011)

Francesco Cameli started playing music at the age of 4 when his mother thrust a violin into his hands “…quite a cruel thing to do, as violins sound bloody awful until you get really rather good!”.

His father was a jazz trumpet player in his spare time and so the house was always full of Coltrane, Parker, Davis and Chet Baker. Between that and his "amazing elderly Violin teacher" his love for music was ignited even though “…the Violin playing never got beyond hugely irritating".

The drums and trumpet, with which Franc not only irritated his parents but also the entire neighbourhood, followed the Violin, but he finally settled on the bass guitar and attended Berklee College of Music where he honed his playing skills. Whilst working as a session bass player, Franc discovered the love of being in the studio and decided to start learning to engineer as well.

“Over the last 12 years I have worked incessantly on my engineering and production, working with for the likes of Westlife, Ronan Keating, Gary Moore, New Model Army, Nine Inch Nails, Tesseract, Rooster and Nadine Coyle to name but a few.”

Franc has engineering credits for a number one and a number two single as well as a number one jazz album under his belt.

“I love to work with bands and over the time I have crafted my skills I have been lucky enough to learn under the watchful eyes of masters such as Glyn Johns (The Who, The Eagles, The Beatles, The Stones, Led Zepplin), Chris Kimsey (The Stones, Marillion, Duran Duran, The Cult) and Don Gilmore (Linkin Park, Avril Lavigne, Pearl Jam).”

It’s this background that makes Franc a truly well-rounded recording engineer who embraces both old and new techniques when making records. ”In the age of laptops and home recording, the art of correct mic choice and placement is being lost, so I like to think of myself and others like me as assets to the music industry”.

Franc is currently based at Sphere Studios in London where he is Chief Engineer and has the choice of a Neve 88R and two SSL G+ consoles, preferring to track on the Neve but happy mixing on either. He uses Avid Pro Tools and wherever possible when tracking uses CLASP, which enables him to track everything through tape before it hits the DAW.

“I find it (CLASP) just removes the harshness you can sometimes still get with digital. I am a big fan of analogue outboard, so I tend to use plugins to deal with problems or create effects and do most of the musical EQ-ing and compression outside the box. Don’t get me wrong, I love my plugins but, I’ve also built up a nice array of new and vintage outboard which has so much character that I just can’t live purely in the DAW.”

Sphere Studios have recently taken delivery of the brand new sE Munro Egg 150 Monitoring System, which Franc has started using alongside his faithful Yamaha NS10s and Barefoots.

“The more monitors you can check your work on the better you can gauge how your work will translate outside the studio environment. The entire studio I am based at was built by Andy Munro and all our main monitoring is taken care of by his critically acclaimed Dynaudio M4 Passive Monitors so, I wanted something that would go on the meter bridge for nearfield work, but which would give me the same character as the M4s… a tall order considering the M4’s are a £20,000 system. The sE Egg 150’s sound astonishingly close in performance to the far more expensive M4 system and easily outperform anything of comparable size and price… not to mention the fact that I can take the Eggs with me everywhere I go!”

“After a couple of days of running in, the eggs have slotted right in with my other monitors and give me exactly what I’ve come to expect and love about monitors designed by Andy Munro and his team… a very tight, well-balanced sound in a package that does not flatter the material, but rather enables you to hear clearly and accurately what is going on without lulling you into the false sense of security like certain other monitors do. You simply hear exactly what’s there".

“The sE Egg Monitors have already been used on two tracking sessions so far in the first week. The first, Sunday Recovery, a Prog Rock outfit from Rome that have completely reworked the classic ‘Karma Police’ to make it something very different indeed… I’m very excited to get that mixed in the next few days! The second was 8 tracks for a Jazz album by Grant Windsor, Neville Malcolm and Richard Spaven, which we recorded live without headphones. After I mix the Radiohead cover, I’m off to Sarm with Producer Pete Martin to do Drums, Vocals and Piano so no doubt the Eggs will make an appearance there also… they are already proving to be an invaluable part of my set up, and being able to get a big system sound on a set of nearfields means, for the first time, I can be mobile and still get a really accurate picture when tracking and mixing.”

“The Eggs are a very well built, revolutionary monitoring system that sounds exactly the way great monitors should. Focused, balanced and incredibly revealing without any smoke and mirrors to fool the listener into thinking things sound better than they actually do. Well done sE and Andy, you’ve cracked it…!”.

sE Munro Egg 150 Monitoring System

Sound On Sound Review sE Munro Egg 150

Wed, 21 Dec 2011 00:00:00 +0000

Sound On Sound Monitor Review: sE Munro Egg 150 Monitoring System Review by Hugh Robjohns. First published by Sound On Sound 21st December 2011 (Volume 27, Issue 3 - January 2012).

sE Electronics have enlisted the help of renowned acoustician Andy Munro to design these striking studio monitors. Does their unique approach to speaker design pay off in the real world?

In an ever-changing world, the one thing we can probably always rely on is the fact that, at some point, the ‘music’ (in whatever electrical form it might be) has to be turned into acoustic sound waves for us to hear — and in most cases that means some form of monitoring loudspeaker. The Sound On Sound Monitors & Headphones Smart Guide catalogues 185 small and medium-sized monitors, and there are probably even more currently available on the global market, each with different strengths and weaknesses.

And that’s an important point: none could be said to be ‘perfect’, and it’s very hard even to point at a high-end professional monitor that could approach true perfection in every respect! The plain fact is that loudspeaker monitoring remains the weakest link in the audio chain by a considerable margin, producing far more distortion and unwanted response irregularities than anything else. Although it’s true to say that small and incremental advances are still being made, fundamental loudspeaker science has barely changed in well over 50 years. The differences between the countless monitor speakers basically come down to slightly different design compromises and priorities, with the end users choosing one model over another largely on the basis of personal preference rather than technical achievement.

Amplifier technology is mature, and even low-cost systems can deliver extremely good quality.Loudspeaker drive units, too, have reached something of a quality plateau: yes, a bigger budget buys a fractionally more capable driver, but even budget units perform acceptably. However, the most influential aspect of a loudspeaker design is, arguably, the cabinet: the big wooden box that holds everything together. Although constrained by the size and budget restrictions imposed by the intended market, cabinet design plays a huge role in determining the overall sound quality and character of the loudspeaker.

There are several different cabinet operating principles available to a loudspeaker designer, such as sealed cabinets, vented or ported cabinets (with the option of passive radiators instead of open ports), and the so-called (but not really in the true engineering sense) ‘transmission-line’ cabinets. Each approach has different strengths and weaknesses, and each manufacturer tries to optimise those in creating a well-balanced final product, albeit with varying degrees of success! One thing that almost all cabinet designs share, though, is that they are almost all rectangular cuboid in shape...

sE Munro Egg - Thinking Outside The Box

Rectangular boxes are relatively easy to construct, relatively efficient in terms of enclosed volume, and relatively easy to live with. If you place a rectangular box on a flat surface, it won’t fall over or roll away, for example! In a hi-fi application, the ‘domestic manager’ can place a flower vase and a photo-frame on the top to make it look less industrial, and in a studio we often place all manner of technical studio debris on top! This might be very convenient, but is not necessarily the best way of building a loudspeaker cabinet.

The acoustic effects of different shapes of loudspeaker cabinets have been known about empirically since at least the early 1940s, but it was really the academic work of HF Olson that properly documented what was going on, in a paper he published in the Journal of the AES in 1969. This work revealed very clearly that cubic and rectangular cabinets had a very damaging effect on the overall frequency response, whereas cabinets with rounded or deeply angled front-baffle edges performed considerably better. A spherical cabinet delivered an almost perfect frequency response. (The ‘Cabinet shape and frequency response’ diagram shows the frequency responses of various different cabinet shapes.)

The physics of the situation is essentially that the sound wave generated by a loudspeaker driver radiates outwards in a hemispherical wave, travelling sideways across the baffle surface and out into the room. However, when the sound waves reach the baffle edge of a cuboid cabinet, they encounter a pressure discontinuity. There is nothing for the sound waves to press against any more, and that step change causes severe diffraction. In effect, the sharp cabinet edge forms a secondary source of sound-wave radiation, and sound waves from that ‘virtual’ source interfere with those from the loudspeaker driver itself, resulting in comb filtering, directional beaming and an uneven response. The precise frequencies affected and the strength of the interference effects depend on the relative distances between the driver and the various baffle edges.

Not surprisingly, Olson’s work revealed that chamfering or rounding the front baffle edges helps to reduce these interference effects by softening the transition and severity of the pressure discontinuity at the cabinet edge — and that’s why most modern loudspeaker cabinets have rounded edges to varying degrees. But the best performance was obtained with a spherical cabinet, since there are obviously absolutely no hard edges, and thus no step-change discontinuities.

However, a spherical cabinet presents other practical problems, not least being how to stop the speaker from rolling off the console meter-bridge! On a more serious note, a sphere has only one dimension and thus has a very strong resonant frequency. A better compromise, combining the soft baffle edges of a sphere but with a broad spread of internal resonant frequencies, is the ovoid or egg shape. And that’s where SE’s new monitors enter the picture.

sE Munro - Hatching The Egg

If the concept of spherical and egg-shaped loudspeaker cabinets has been around for 40 years or more, why has no-one done anything about it until now? Well, one reason is that people are used to rectangular cabinets, and another is that it is quite difficult to make an egg-shaped cabinet in a commercially viable way. It’s not practical to use wood, and while a metal casting is possible, it is also quite expensive — although the current Genelec range has gone some way down this road. SE’s approach has been to use a heavily engineered plastic cabinet, which, although expensive to develop, is relatively cost-effective to build in quantity.

And so we welcome the SE Munro Egg 150 monitoring system, which is the first in a planned series of related monitoring products. As the title suggests, the development of this innovative design has been guided by the highly regarded and enormously experienced acoustician, Andy Munro, along with SE’s James Ishmaev-Young and Siwei Zou.

The fundamental engineering concept of the SE Egg monitor is to replace the familiar rectangular cuboid cabinet with a far more strongly curved, egg-like enclosure, with the aim of virtually eliminating both edge diffraction on the outside and strong resonant effects on the inside. It’s a beautifully simple and attractive idea but, as is always the case, turning the concept into engineering reality is far from trivial and it has taken the team over two years to perfect.

sE Munro - Egg Boxes

The Egg 150 Monitoring System is exactly that: a fully integrated, active, two-way monitoring system, with everything packaged in one enormous box for shipping. Indeed, the product’s marketing tag-line is ‘AIMS’, which stands for ‘Active Integrated Monitoring System’. Inside the outer shipping carton are several more separate boxes, containing two egg-shaped loudspeakers (each weighing about 5kg), two base plates (1.5kg each), a power amplifier and control unit (another 8kg), and the associated three-metre speaker cables, terminated in Neutrik Speakon connectors.

The Egg speaker cabinets have an attractive and very tactile matte-black, rubberised surface — the same as is used on many of SE’s high-end microphones — and the Egg dimensions are 465 x 289 x 258 mm (HxWxD) when mounted on the supplied base plate. The base-plate area is slightly smaller than the cabinet, measuring 245mm deep by 220mm wide, and the design is such that the Egg cabinets can be tilted downwards over a useful range, but not upwards. Apparently, SE decided that their speakers would always be mounted on console meter-bridges or tall speaker stands behind a work surface, and so only a downward tilt option would be required. I suspect that there is also a balance issue here, and that to enable a tilt-up action, the base plate would have had to project behind the speaker itself.

The very unusual and visually most distinctive Egg cabinets have an internal volume of 14 litres and are ported, with the vent tuned to 51Hz and firing downwards at the front below the bass driver. The cabinet is actually formed from a very strong and acoustically inert type of plastic, moulded in three main sections and screwed together to form a unique ‘monocoque shell’ construction (see ‘Inside the Egg’ picture). The final mould design was arrived at after a lot of complex mathematical modelling and exhaustive testing to achieve the ideal chassis thickness and balance. Perhaps the most critical aspect of the design — and something that apparently took a long time to fully optimise — is the use of internal bracing ribs as part of the moulding. These establish the overall shape, control any shell resonances, and give it remarkable strength for relatively little weight.

A very useful facility included in the Egg 150 speakers (something I first came across on an M&K monitor speaker several years ago, but which few other manufacturers have copied) is a deeply recessed ‘aiming’ LED on the front baffle. Since the LED is sunk deeply into the baffle it can only be seen when directly on axis — both vertically and horizontally — and it therefore provides a very precise means of aligning the speakers to the intended sweet spot. However, who wants to have their retinas burned out by searing blue LEDs while mixing? Thankfully, SE have recognised this and provided an off switch on the main amplifier unit, so that once the system has been installed the lights can be extinguished.

Of course, loudspeaker drive units are generally built to be mounted on flat baffles, and as a result SE have had to flatten one side of the Egg cabinet to accommodate two traditional drive units. This inevitably compromises the edge-diffraction performance slightly, because it distorts the egg shape, but the junction between the main Egg cabinet and the flattened baffle surface is as smoothly rounded as possible, and the effect seems negligible.

Both drive units are made by Monacor, and are previously discontinued models now revised to SE’s own specifications. The bass driver is a 165mm polypropylene unit, rated conservatively at 50W (RMS), while the tweeter is a 25mm soft-dome unit with a neodymium magnet, rated at 40W (RMS). In effect, each physical loudspeaker cabinet is a passive box, with the two drive units wired individually back to the central system amplifier unit via an integral Speakon connector. However, it should be pointed out that the Speakon wiring is non-standard, so don’t try running the Eggs from any other generic Speakon-equipped power amplifier!

sE Munro Egg 150 - Control Unit

Although the Egg 150 monitoring system is fully active, the amplifiers aren’t physically integrated into the speaker cabinets, as is the case with most small and medium-sized active speakers. Such an approach wouldn’t have been practical because of the curvaceous cabinet shape, and the impact it would have had on the internal volume. One option might have been to build the amplifier chassis into the speaker base in some way, but instead, SE have chosen to house all the electronics in a separate, rackmountable unit (removable rack ears are included). This 2U amplifier unit measures 88 x 420 x 300mm (HxWxD), and each of the four drive units is powered from its own 50W amplifier, with signals derived from an analogue crossover stage that splits the audio spectrum at 2.1kHz. Some potential purchasers might be put off by the idea of returning to the old ways of chunky speaker cables and central power amps, but I suspect that this configuration won’t make any practical difference to most.

The amplifiers are ‘chip amps’ running on ±35V rails, but appear to be of high quality with high slew rates and ultra-low distortion. The internal construction places the amp chips right next to both the linear power supply’s outputs and the rear-panel Speakon connectors. In effect, the amps modulate the power passing from the PSU to the speakers with the shortest possible connections to ensure the most precise control. It’s a classic design approach and clearly works well here. As part of the factory quality-control testing process, all four amplifier channel gains are matched to their respective speaker drive units, to tolerances of ±0.25dB — which is extremely tight. This is why the entire system is shipped as a single package, and why the apparently identical Egg speakers are clearly labelled specifically for left or right connection to the amplifier unit.

The amplifier unit is rather more than just a set of power amps and a crossover in a shiny box. sE have built in some basic monitor‑control facilities as well, although I’m slightly disappointed that they didn’t take this further — but perhaps the company have chosen to restrict the facilities provided here so that the promised larger Egg system can include more comprehensive facilities for the inevitably larger price tag.

Nevertheless, the amplifier unit features two small knobs and two large knobs, together with a lovely, blue-lit power on/off button. The small right-hand control switches between the main and auxiliary inputs (main being connected via XLRs and auxiliary via RCA phono sockets, all on the rear panel). These two input sources have independent stereo level controls, which are the two large knobs towards the outer edges of the front panel. This arrangement makes it very easy to level-match the two sources: a great help when comparing the mix from a DAW with a reference track from a CD player, for example.

The fourth knob is a mid-band equaliser, with three options. Originally it was intended to emulate the Yamaha NS10’s peaky response, but during the final pre-production auditions it was decided that the EQ was too harsh and not really as useful as hoped. So, after some further tweaking, the mid-range EQ options are more subtle than originally intended, but actually all the more useful for that. The control’s centre position leaves the system’s frequency response as flat as Andy Munro designed it to be. Rotating the knob left or right selects either ‘Soft’ or ‘Hard’ modes, in which the mid-range response is reduced or raised by about 1.5dB, respectively. The idea of these options is essentially to provide either a more ‘easy listening’, hi-fi-style mode with the classic ‘smile’ response curve, or to provide a ‘shouty’, mid-forward and strongly detailed character that exposes the critical mid-range region of a mix. A pair of red LEDs on the front panel warns when the amplifiers are close to clipping.

It seems a missed opportunity not to have included ‘mono’ and ‘dim’ buttons, and the lack of any scale around the volume controls makes accurate setting and resetting of the listening volume more difficult than it should be. But these are minor niggles in the grand scheme of things.

On the rear panel, alongside the IEC mains inlet, the two sets of input connectors, the Speakon output sockets, and the aiming-LED off switch, are four level-trim potentiometers for the two HF and two LF outputs. These are provided to enable the system’s response to be tuned to the room, if necessary, with the ability to reduce the bass in compensation for boundary proximity, and to boost or cut the treble as necessary to match the room’s acoustics.

As I mentioned previously, the Egg 150 system employs standard four-pole Speakon connectors for the speaker cable, but only three of the four internal wires carry the audio signals. The HF and LF amplifier outputs share a common return wire, leaving the fourth wire to carry the power for the switchable aiming LEDs.

sE Munro Egg - Listening Eggsperiences

Having unpacked the enormous Egg 150 system carton, and all the smaller inner cartons, I placed the two Egg speakers in their allotted positions on a pair of Zaor height-adjustable speaker stands, well clear of side and rear walls, with the amplifier unit on the work surface in front of them. I hooked an HHB UDP89 multi-format disc player directly to the amplifier chassis ‘main’ inputs as a reference source, and started to work through my usual collection of reference CDs.

The first thing I noticed on firing up the speakers was just how big they sounded. For such modestly sized units, the bass response is extraordinary, in terms of both the low-frequency extension and the speed and dynamics of bass instruments. There seems to be virtually no port resonance and no ‘hangover’: bass notes start and stop extremely cleanly and quickly. If only all ported cabinets could achieve as much! Andy Munro suggests that the egg-shaped cabinet has a complete absence of strong internal resonances, and that plays a big part in helping the port output to integrate almost perfectly with that of the LF driver. The result is minimal time smearing and an excellent transient response — and both are very audible.

The next thing I noticed (accidentally) was just how loud these monitors can go. Clearly, the drive units are quite efficient and the power amps are conservatively rated, but even the heaviest rocker won’t find anything to complain about in terms of volume here! The Egg 150 monitors are intended as midfields, but their compact size makes them usable as nearfields as well, while their power handling would probably enable them to serve as main monitors in moderately sized rooms! And even when the red warning LEDs start to flash, there’s no obvious distortion or compression to degrade the performance.

I found the stereo imaging to be very precise and completely stable, with a strong centre image and a superb impression of depth, as well as spaciousness, on well‑recorded material. The subtle room tones and reverberation of old jazz recordings was very audible — something that lesser speakers fail to extract — and the overall tonal balance was spot-on, to my ears. The Eggs exhibited excellent and seamless integration, from the surprisingly deep lows, right through the mid-range, and on to the high end, and I didn’t feel any need to tweak the balance at all.

These initial impressions were obtained with the front panel mid-range EQ control in the ‘off’ position, but turning it to the ‘Hard’ position brought mid-range instruments and voices forward quite dramatically, adding a certain impact and urgency to the sound, and making subtle level differences a little more obvious and demanding of attention. Conversely, the ‘Soft’ mode instilled a far more laid-back effect, which was much easier on the ear, to the point of blandness. Of course, such a facility could be a dangerous thing in a studio monitoring situation if used unthinkingly, but it’s handy if you just want to kick back and enjoy your music on a spiritual level, instead of analysing it on an intellectual one!

The raison d’être of every true monitor speaker, of course, is to reveal and expose information about the individual sources and the way they interact when mixed together. Monitor speakers aren’t supposed to sound ‘nice’ — they are supposed to reveal technical and aesthetic flaws (when they’re there), and I have to say that the Egg monitors do a pretty good job of that.

The bass is fast and tight, revealing the true character of any kick-drum EQ, as well as the timing relationship between the bass and kick. When the kick drum is thumped, you hear just the thump, and not the extended ‘boom’ that so many lesser speakers produce in the hope of appearing more powerful and impressive than they really are! Such tricks don’t help when trying to fine-tune a mix. The critical mid-range region is crystal clear, and can be made even more revealing and insistent by using the ‘Hard’ mode, if required, and although my delicately rounded BBC ears preferred the ‘off’ option most of the time, even I would admit that it is a useful facility to have! The high end is open and spacious, without any edge or grittiness, and with extended listening I found little evidence of fatigue, which indicates very low distortion levels — something that is also supported by the fact that I found myself listening at far higher levels than I thought on several occasions.

sE Munro - The Eggs Factor

Overall, the Egg monitors delivered far more than I was expecting. The bandwidth, especially at the bass end, was far greater than a monitor of this size would normally deliver, but without any hint of over-inflated port resonances to bolster the performance. Indeed, bass clarity, precision and speed are some of the strengths of this unique design. The system is also capable of much more volume than any sane user will need, and the clarity and ability to hear into a mix is excellent. There is absolutely no doubt that these are very good monitor speakers indeed, and certainly worthy of the title. The design takes an age-old idea and implements it extremely well, to reach the promised gold at the end of the rainbow.

To some, the list price of these monitors might seem high, but the Egg 150 monitoring system stands direct comparison with its peers extremely well, and might even embarrass some! But if the asking price is a little more than your current budget can stand, I’d advise being patient, as the smaller Egg 100 monitors, which appear to share the same attributes, are in the advanced stages of production and should be revealed early next year. In the meantime, I’d urge those seriously contemplating a monitoring upgrade to take SE up on their free auditioning option.

sE Munro Egg - Alternatives

I’ve not come across any other egg-shaped speakers, although the current Genelec range does go quite some way in a similar direction. I can’t think of any other active monitors in this market sector that include a basic monitor controller either.

sE Munro Egg 150 Pros

Distinctive styling with very practical and audible benefits.
Very accurate, neutral, revealing and precise sound character.
Remarkably extended LF.
Deep, wide and stable stereo imaging.
Astonishing volume available.
Bright ‘aiming’ LED on baffle to align the monitors — with an ‘off’ switch!
Limited room-tuning EQ controls.
Front-panel mid-range EQ modes.
Built-in source selection and volume controls.
Market-leading warranty and auditioning services.

sE Munro Egg 150 Cons

Having to run speaker cables back to a central amplifier chassis may seem like a backward step.
The base doesn’t allow the Eggs to be tilted upwards.

Try Before You Buy

sE Electronics have become well known for their policy on allowing potential customers to borrow their mid-priced and high-end microphones on a try-before-you-buy scheme, as well as on their no-quibbles warranty policy. The same facilities are being extended to the Egg 150 monitors, providing enormous peace of mind both to potential purchasers who might not be able to find a retailer with a set for auditioning, and for existing users who might not have additional monitors available should the Eggs fail at any point in the future.

Essentially, SE are providing a five-year manufacturing defect warranty, together with a three-year ‘no-downtime’ repair warranty, and a free auditioning loan service. There’s some small-print, of course, and the full terms and conditions are on the company’s web site, but it is a genuine and credible warranty. The way the loan system works is that if you are interested in the Egg 150s, you can contact your local SE distributor and they will ship a system to you to try, in the familiar comfort of your own working environment. If you like the system, you can buy it, and if you don’t, you can ship it back — all at SE’s expense. No risk, no pressure and no hassle... But I’d be surprised if you wanted to send them back!

The ‘no-downtime’ warranty works in a similar way. Should the Egg 150 system fail because of a manufacturing defect, SE will ship a complete new system to stand in for your own system, while the latter is returned to SE for repair. Once fixed, it is returned and the loan system reclaimed. Again, minimal downtime and minimal hassle. Of course, the reason the entire system has to be shipped back — both speakers and the amplifier unit — is because the amplifier channels are finely matched to the drivers, and any repair or replacement will require complete realignment of the whole system to maintain the original factory specifications and tolerances.

Clearly, the free customer-audition service and the free repair-loan service are expensive things to provide — both in terms of the service inventory and the courier costs. Few, if any, other manufacturers offer anything similar for this market sector, and this is a strong statement on SE’s part of the belief they have in the quality of their products.

sE Munro Egg 150 - Summary

An innovative and very distinctive monitor speaker, applying scientific principles to audible effect. The Egg 150 delivers a remarkably high standard of sound quality in a compact space with no significant vices.

RODE NT1-A, sE X1, Neumann TLM 102, AKG Perception P220

Tue, 06 Dec 2011 00:00:00 +0000

sE Electronics X1, Rode NT1-A, AKG Perception P220 and Neumann TLM 102 in blind listening comparison tests at Sphere Studios, London (Nov 2011)

The sE X1 condenser microphone beats RØDE, AKG and Neumann in blind listening comparison tests conducted at Sphere Studios in London, proving that hand crafted microphones really do deliver the best build quality and performance ... please don’t mention the fact that the sE X1 is also the least expensive of these market leading brands.

Impartial Engineers: Francesco Cameli (Chief Engineer at Sphere Studios), Ronan Phelan (Senior Assistant Engineer at Sphere Studios). Test Participants: 11 of the participants below voted in each round.
Producers / Engineers: Chris Porter, Dean Ross, Ofer Shabi (Soho Sonic Studios), Arie Van Der Poel, Charlie Thomas, Dave Bascombe
Media: Paul White (Sound on Sound), Zenon Schoepe (Resolution), Mike Hillier (Music Tech Magazine), Jules Standen (Gearslutz)
Performers / Artists: Roachie (male vocals), Roxy Yarnold (female vocals), Chris Sheehan, Ofer Shabi (acoustic guitar)

Microphones Under Review: Rode NT1-A, AKG Perception P220, Neumann TLM 102, sE Electronics X1

Overall Result:

1^st - sE Electronics X1
2^nd - AKG Perception P220
3^rd - Neumann TLM 102
4^th - Rode NT1a

On Thursday 24^th November 2011 a group of producers, artists, engineers and press from all over the UK attended blind listening tests of four of the biggest condenser mic brands in the world … the aim, to strip away consumer preconceptions created with decades of brand marketing, and compare mics based solely on their performance, their build quality and their feature set.

James Ishmaev-Young (sE Electronics, sE Munro, sE Rupert Neve): "At sE Electronics, we have long maintained that the heart of a microphone, the capsule, is not just a bunch of electronics to be mass produced, but a musical instrument. As such it is our belief that every capsule in every mic should be hand crafted individually, just like any really good instrument.

It costs a lot more to do it this way than mass production, and so at every price point you find an sE microphone, you can be sure that our cost of build is far higher than our mass-automated competitors at the same price points. But that is our simple message; we build better for less money by simply putting the money into the mic itself, and not into huge marketing budgets, cheap accessories and fancy packaging.

When stripped of all marketing, packaging and preconceptions, what happens in real life blind listening tests is a remarkable testimony to the sheer quality of product you get with a sE Electronics microphone."

Conducted at the infamous Sphere Studios in Battersea, London, with the participation of UK pro audio press, artists, engineers and producers, and under the supervision of one of Sphere’s top resident engineers / producers, Franc Cameli (who’s worked with Westlife, Ronan Keating, Gary Moore, New Model Army, Nine Inch Nails, Tesseract, Rooster and Nadine Coyle to name but a few…) and Sphere Studio’s Assistant Engineer, Ronan Phelan, the sE Electronics X1, Rode NT1a, AKG Perception P220 and Neumann TLM 102 were put through their paces on both male and female vocals, and acoustic guitar, during a 4 hours recording and listening session in Studio 1.

Each mic was placed in an identical set up by Franc Cameli, on an sE Stand 1, with a Reflexion Filter Pro and a metal pop shield (for vocal takes only). Getting the perfect position for one vocal take, or guitar take, with 4 different mics simultaneously, is impossible, since they can’t all be in the sweet spot at the same time. So, in order to best get consistent results, each mic used the same Prism pre-amp ADA8-XR converters lined up to -16 direct into an Avid Pro Tools session. The performers were extremely consistent, so were able to deliver very similar takes with each mic; first male vocals, then female vocals and finally acoustic guitar. Franc Cameli then comp’d the takes and made sure volume levels were normalised, so there was no bias created by people’s natural leaning towards slightly louder sources. The whole recording process was scrutinised by the test participants to ensure that everything was set up as identically as possible, and no microphone was favoured over any other.

Each of the four tracks was then randomly assigned to one of four identical channels on a Neve 88R console by either Franc or Ronan, such that ONLY they knew which mic was which, and each participant in the listening tests then spent several minutes listening critically to the recorded pieces via a pair of Barefoot MicroMain 27’s, switching between channels themselves, and making notes on the ‘sound’ of each track, and ranking the sonic performance of each mic from 1-4 (1 being the best).

The listening tests were even done in three parts, such that every participant would listen only to the male vocals, make their comments and rankings, and then the engineer would randomise the tracks again and move onto the next source material, so that any preference in each round could not affect the listeners prejudice to a preferred ‘channel’ (i.e. mic) for the following tests. So, if someone’s preferred mic (channel) was, say, No.1 on male vocals, they would not know which channel this mic would appear on for female vocals etc. Everyone present was canvassed for their input to make the tests as impartial and fair as possible, and all agreed on the final format as fair and without any potential for bias.

Once each round of listening was completed, each participant entered their comments and ranking into a shared spread-sheet (but were not allowed to see each other’s choices until the tests were completed, again to avoid bias). Once the data from each round was all entered, the engineer overseeing each session then revealed which channel corresponded to which mic. All three rounds were complete in this way before results were read out. The lowest scores indicate the best average ranking (1 being the highest, 4 being the lowest).

In the final analysis, the sE Electronics X1 came top for male and female vocals, and second place for acoustic guitar behind the AKG Perception P220, and was therefore the clear winner in the ‘sonic performance’ test category; AKG P220 came second overall, with the RODE NT1-A in third place and the Neumann TLM102 last in this category. The sE X1 also came top for build quality and looks, with the Neumann TLM 102 second, AKG Perception P220 third, and Rode NT1-A last.

The overall clear winner was the sE X1, with the AKG P220 in second place, Neumann TLM102 third, and the Rode NT1a placed last. Each participant was shown the data on the day of the test, and each has been sent a full version with names against results to corroborate their own notes on the day.

So, how does sE do it? James Ishmaev-Young (sE Electronics, sE Rupert Neve, sE Munro):

"Simple, we build more expensive product and sell at cheaper prices because we simply make less money! We believe that our customers are our marketing, and that word of mouth will eventually make sE the brand leader in every country, not just the UK’s No.1 … because it doesn’t matter how much you spend on marketing, if your customers think your product is the best in real test conditions, then it IS the best!"

Gearslutz Review

Tue, 29 Nov 2011 00:00:00 +0000

May 1st Update: Rupert Neve Portico 543 WINNER is Alex Venguer.

Quick note for Gearslutz members:

sE Electronics, sE Rupert Neve, sE Munro and Rupert Neve Designs are now taking a break from sponsoring Reviews. To date, sE and RND have given away ten sE X1 mics, a sE4400a, a sE Rupert Neve RN17 Stereo Pair, a sE Munro Egg 150 Monitoring System and (with today's draw) a Portico 543.

May Sonic Distribution (UK distributor for sE and Rupert Neve Designs) take this opportunity to say it has been a real pleasure to get know the Gearslutz community.

Previous Gearslutz Reviews Draws

WIN a Rupert Neve Portico 543

Gearslutz, sE and Rupert Neve have teamed up again to offer more free gear via Gearslutz Reviews this April.

All you have to do is review some gear and you could have Rupert Neve in your lunchbox, sE mics in your mic cupboard and more.

The good news is that anyone who entered the sE sponsored Gearslutz Reviews prize draws in Dec (sE X1 / sE4400a), Jan (sE Munro Egg 150) and Feb (sE Rupert Neve RN17 Pair) is automatically tipped into April's virtual hat to WIN a Rupert Neve Designs Portico 543 500 Series Mono Compressor Limiter.

How to Enter Gearslutz Reviews Prize Draw (April)

For new Gearslutz reviews i.e. published from April 1st 2012: Once you have posted a review of any gear in your studio on the Gearslutz Reviews Board, email gearslutz@rupertneve.com with a link to your review claiming ownership and your contact details (name, e-mail, contact number, website e.g. your studio website, blog, twitter. facebook etc).

Note for existing Gearslutz Review Contributors: Any reviews published and submitted to the prize draws via gearslutz@seelectronics.com in Dec, Jan and Feb are aleady in the virtual hat i.e. you do not have to re-submit a previous review to enter this month's prize draw. Winner will be announced on SONIC.

What? Another Chance to WIN sE Gear?

If you have previously reviewed (or review in April) via Gearslutz Reviews any sE Electronics, sE Munro, sE Rupert Neve or Rupert Neve Designs gear, you will also be entered into another draw to win sE gear randomly throughout the month of April.

Update 11th April 2012: Congratulations to MarcJBeard who has won a sE2200a II Multi-Pattern Condenser.

As per the previous Gearslutz Reviews Prize Draws sponsored by sE and Rupert Neve, the more reviews you post, the better chance you have of winning as the number of tickets you will have in the virtual hat(s) will be higher!

Reviews must be at least 200 words each. Please e-mail gearslutz@rupertneve.com every time you publish a new review between April 1st 2012 and April 30th 2012 to claim ownership and another ticket with your name on it will fall into the hat(s).

Good Luck!

All winners will be selected randomly from the virtual hat(s) and the winner of the Portico 543 will be announced on April 30th at 11:59pm GMT on SONIC. For anyone who wishes to enter the Portico 543 draw who did n't enter Gearslutz Dec, Jan and Feb prize draws, the prize draw for the Portico 543 opened at 12:01 am GMT on April 1st 2012.

Please note that as neither sE or Rupert Neve sponsored Gearslutz Reviews in March 2012, any reviews published on Gearslutz in March 2012 will not, unfortunately, qualify for the 543 prize draw. However, any sE Electronics, sE Rupert Neve, sE Munro or Rupert Neve Designs reviews published in March do qualify for the additional 'mystery' draws this month.

February 2012 sE Rupert Neve Gearslutz Review Winner

Congratulations to February's Gearslutz Review Winner: Nick Kranz / Strawberry Cove Studios. Nick (Gearslutz member: mahasandi) has won a sE Rupert Neve RN17 Stereo Pair!

January 2012 sE Munro Egg 150 Gearslutz Review Winner

In January 2012, sE Munro sponsored Gearslutz Reviews.

Congratulations to Zach McNees from Brooklyn, NYC who won the sE Munro Egg 150 Monitoring System.

"These Eggs really are incredible. I spent about 20 minutues listening criticially and then went right back to work!! I didn't have to "learn" them at all."

Thanks for the picture (left) Zach and your comments.

Why are sE Electronics offering Gearslutz review contributors who also review non-sE products an opportunity to WIN sE gear? As the manufacturer of sE Electronics microphones, sE Rupert Neve microphones and sE Munro monitors, we are interested in genuine market feedback on all studio gear. Having said that, it's always good to receive feedback on our own products. For example, sE Munro Egg 150 Gearslutz Review by 'AHappyHourHero'.

December 2011 sE X1 Gearslutz Review Winners:

In December, sE Electronics sponsored Gearslutz Reviews. Here's the complete list of TEN sE X1 winners and the winner of the sE 4400a.

sE X1 News March 2012: SIX CHANCES TO WIN a sE Electronics X1 Microphone - find out more here

First winner pulled from the virtual hat on 5th Dec 2011. Congratulations to Jason JJBoogie Reichert.

Jason JJBoogie Reichert is a multi-instrumentalist, writer, programmer & mix engineer. Currently a member of the two time Grammy winning hip hop group Arrested Development. JJ has mixed and co- wrote two top ten hits for Arrested Development. Jason: "Hey guys.....here's me and Speech the founder and lead singer of Arrested Development. He felt the mic in his hand and tripped out over how cool it felt!!! LOL We're gonna try it out soon. Got some sessions coming up. thanks again."

Atlanta Mix Engineer

Arrested Development

peace JJ

Second winner pulled from the virtual hat on 8th Dec 2011. Congratulations to John Eppstein (San Francisco).
Third winner pulled from the virtual hat on 12th Dec 2011. Congratulations to Pavol "Icecubeman" Brezina (Slovakia)
Fourth winner pulled from the virtual hat on 18th Dec 2011. Congratulations to Gary Hauser (USA)
Fifth winner pulled from the virtual hat on 19th Dec 2011. Congratulations to Naeem Khatri (Calgary, Alberta Canada)
Sixth winner pulled from the virtual hat on 20th Dec 2011. Congratulations to André Sachs (Rio de Janeiro, Brazil)
Seventh winner pulled from the virtual hat on 22nd Dec 2011. Congratulations to Ricardo Alexandre Pereira Fernandes

Eighth winner pulled from the virtual hat on 27th Dec 2011. Congratulations to Rob Anderson. Anderson Sound Recording
Ninth winner pulled from the virtual hat on 30th Dec 2011. Congratulations to Brian Toye. We Make Records

Tenth winner pulled from the virtual hat on 1st January 2012. Congratulations to Arthur Stone. ArthurStone SoundCloud

sE4400a Gearslutz Review Winner pulled from 'X1 Winners' virtual hat on January 3rd 2012. Congratulations (again) to Rob Anderson.

January Update: Arthur Stone who won the last sE X1 has subsequently posted a sE X1 review with audio of the sE X1 and Rode NT1-A (Arthur had a NT1A already) on the Gearslutz Reviews Board. Read the full review here but here's a couple of quotes:

"First I must declare that I won this microphone in the Gearslutz Gear Review; does this affect my review?...of course it does, but I wouldn't write a good review if it was a bad mic. I'm very grateful to sE Electronics (and Jules!) for the prize particularly as it is such a gem"

"Out the box my first impression is that it is solid and well-designed; as a trained mechanical engineer I'm quite picky about that. The mic is - dare I say it - sexy"

"Not a scientific test by any means...but I like the full-bodied vibe, smoothness, and dimensionality of the sE X1 - the NT1A sound is nice too but is a bit thinner in the low-mids and has a slight rasp. On the guitar tracks the sEX1 seems to articulate the strings well in comparison, also the guitar tapping at the end is significantly more musical. The sEX1 seems a bit weightier - which I like"

Related News: sE X1 WINS Blind Listening Test at Sphere Studios, London (Nov 2011).

Microphones on test - sE X1, Neumann TLM 102, AKG P220 and Rode NT1-A.

Find out more here

Dan Worrall Platinum Ears records Little Robots

Mon, 28 Nov 2011 00:00:00 +0000

Dan Worrall (Platinum Ears) provides recording, mixing and mastering services at the The Laundry Rooms recording studios in Sheffield. Dan Worrall has kindly sent sE Electronics (via the sE Matrix) this recent session picture of Little Robots recording their Xmas single, The Christmas Song (available on iTunes).

Dan Worrall: “It would be great if they [Little Robots] could keep the likes of Simon Cowell off the top spot this year! In this session, I used the sE Z5600a as the side mic of an MS stereo pair, with an Earthworks QTC30 as the mid.”

Dan continues: “I used my Z5600a to record acoustic guitar for Sean Cannon (The Dubliners). Sounded great, and the figure-8 pattern was very useful to reject his vocal. I used the same mic to record his son James' vocal, and it suited him much better than the U87ai we also tried."

"I've also had great results using the Z5600a for drum overheads: I once borrowed my neighbours Gemini and used it together with my Z5600A for a MS stereo pair, which sounded huge... but a sturdy stand is required when using those two mics on one stereo bar!"

Dan also makes video tutorials covering a range of recording, mixing, mastering and sound design techniques. Dan: "The Z5600A also records my voice overs for all my tutorial videos." Tutorials are currently available for Reaktor (and Lazerbass), Camel Audio and FabFilter plugins, Sonic Charge Microtonic and Tone2 ElectraX. Dan also designs his own plugins: "I release under the name Platinum Ears: these have proved rather popular over the years, especially the classic IQ4qui dynamic EQ plugin (originally released in january 2005) and the more recent 5ORCERY meta-multiband compressor."

sE X1R Review

Mon, 28 Nov 2011 00:00:00 +0000

sE X1R Review

Huw Price from Music Tech Magazine reviews the sE Electronics X1R ribbon microphone:

"we put the X1R head-to-head against some other well-known ribbon mics. There really is no substitute for A/B testing and the X1R acquitted itself very well."

"the sE X1R outgunned an Oktava ML52 and a Beyerdynamic M160 - both of which are dual-ribbon designs."

"we found the sE far more versatile than the highly specialised Sontronics Sigma (£446) and Delta (£487), and in our opinion it's sonically superior to the oddly phasey Oktava ML52 (£253)"

"a warmth and sense of scale that is also reminiscent of the Coles 4038... the fact that we're making this comparison at all is a credit to the X1R."

" the sE X1R captured a sense of realism on acoustic guitar that would shame many similarly priced condensers."

"we jammed the X1R against the speaker of a cranked-up guitar amp... Thanks to the high SPL handling provided by an internal metal diffuser, the X1R was totally unruffled. In fact, it produced an uncommonly detailed, smooth and natural tone. As a final act of abuse we zapped the X1R with phantom power and once again it came through unscathed thanks to sE's protection circuitry."

The full review of the sE X1R will appear in the December 2011 issue of Music Tech Magazine.

James Wiltshire of The Freemasons Talks Gear

Fri, 25 Nov 2011 00:00:00 +0000

The Freemasons have spent the last few years topping the UK and USA club charts producing and remixing the likes of Kelly Rowland, Beyonce, Kylie, Angie Stone, Whitney Houston, Shakira, Taio Cruz and Sophie Ellis-Bexter. The sE Gemini II, Z56000a II and Reflexion Filter Pro are at the front of their recording chain. James Wiltshire of The Freemasons tells us why…

sE Endorsee: James Wiltshire / The Freemasons
Occupation: Producer / Remixer (UK’s most successful ‘Grammy Nominated’ Remixers)
Artists: Beyonce, Shakira, Sophie Ellis-Bextor, Whitney Houston, Kylie, Faith Evans, Angie Stone
Mics / gear: Reflexion Filter Pro, Z5600a II, Gemini II, Apogee Symphony, sE Stand One, Waves Mercury
The Freemasons Facebook
The Freemasons Twitter

Key Quotes:

“I love the Gemini, it gets more use than any other mic we use as it’s just so ‘instant’ - you can chuck it up in a demo session on male or female vox and know you’ll get a recording that you can take all the way to mix”

“I’ve worked in studios that had stands costing 3 times what the sE Stand 1 costs and weren’t this rugged, and the sE is the only one I’ve used that doesn’t suffer from ‘brewers droop’!”

“The sE Reflexion Filter Pro is a great piece of kit and the only portable vocal booth that really works, because it doesn’t colour the sound... just helps you to control the ‘room sound’ without playing with the sound of the mic”

James Wiltshire Interview with sE Electronics' James Ishmaev-Young (November2011)

“I’ve never had a ‘proper job’!” says James Wiltshire. “I’ve been lucky enough to work in music professionally since I was 19 and got in through the then back-door that was dance music - hence the reason I still make crap tea... good coffee though!”

Wiltshire’s journey began when he joined DMC for a "baptism of club-music fire", and then went on to work in just about every major studio in London. On returning from a 6 month trip to Sydney, he returned to Brighton and started work with Russell Small, infamously taking the name ‘The Freemasons’ from their local Brighton pub.

The Freemason’s set-up is based around a very large Logic system which includes the Waves Mercury plug-in bundle and the new Apogee Symphony I/O system linked up to a Neve summing mixer. Wiltshire adds, “We use plenty of outboard either running as hardware inserts via the Apogee Symphony or across channels for a stemmed mix session.” At the front end several pre-amps are deployed including API 512s, AM Golds for the synths and a Universal Audio 610 for single channel sources and “more synths than we’ve got space to list here!”

James and Russell have a growing collection of sE products: “We’re loving the sE gear… starting from the most practical, we’ve got one of the brilliant sE Mic Stands. For years we’ve been sticking expensive mics on badly made stands, because there has been nothing decent available and I’d really had enough of it… I was so chuffed when the sE Stands came out – I’ve worked in studios that had stands costing 3 times what the sE Stand 1 costs and weren’t this rugged, and the sE is the only one I’ve used that doesn’t suffer from ‘brewers droop’!”

"Moving up, we don’t have space for a permanent vocal booth, so we have a Reflexion Filter Pro constantly in use and sitting on the sE stand. We use it for all the vocal sessions. It’s a great piece of kit and the only portable vocal booth that really works, because it doesn’t colour the sound... just helps you to control the ‘room sound’ without playing with the sound of the mic”

The Freemasons have turned to sE Electronics microphones as the front end of their entire recording chain… a big deal since the vocals are the focus of any strong tune.

“We use a Gemini II and my trusty Z5600a. I love the Gemini, it gets more use than any other mic we use as it’s just so ‘instant’ - you can chuck it up in a demo session on male or female vox and know you’ll get a recording that you can take all the way to mix, or you can sit and tweak on a master session - it’s all various degrees of ‘great’!”

James continues, “Our recording needs are pretty simple – a single source vocal - so it’s an sE mic on the sE stand with the Reflexion Filter… we’re using this set up on nearly all our vocal sessions. One acid test was recording the enormous voice of Katherine Ellis on our single ‘When You Touch Me’. She can get very loud and it was a big vocal from line one, so it was great to have an old friend, the Gemini, up.”

James has some tips for anyone wanting to ‘get creative’ too…

“Get some percussion bits then grab cups. Bottles, forks, anything that’ll make an interesting noise and run a percussion track down on everything you do. Stick some reverb and tape saturation on it and have an editing session – it’s great fun and easy, and you can end up with some great sounds to use.”

..and James’ take on sE Electronics the company…?

"sE really changed the way mics were made and sold by proving you can get high end, hand-engineered products, at mass market products. I love the whole idea of the company, their ‘quality for everyone’ attitude, and absolutely no compromise.”

sE X1R Ribbon Microphone Loan Service

Tue, 22 Nov 2011 00:00:00 +0000

sE X1R Ribbon Microphone News: The sE X1R is a brand new passive ribbon microphone from sE Electronics. The X1R is the second family member of the sE X1 series. As with all sE microphones, the capsule is hand-crafted and we encourage anyone who wishes to evaluate the sEX1R ribbon mic to contact sE directly, your local distributor (if you are outside the UK) or your local sE dealer, and ask about our Free Loan Service.

The real beauty of ribbons is that they are uniquely realistic and natural in their recording of source material. Where condensers sound very ‘in your face’, ribbons sound natural, like the performer is actually in the room with you. So, for anything acoustic… like jazz, classical, string parts, drum overheads, folk, or acoustic guitars on less ‘poppy’ records, they are perfect. Try the sE X1R.

sE Egg Speakers vs Dynaudio BM5

Mon, 21 Nov 2011 00:00:00 +0000

sE Egg Speakers Update: We recently published an interview with composer, arranger, producer, conductor and multi-instrumentalist, Steve Bentley-Klein. Steve's eclectic and succesful musical career (Deep Purple, Burt Bacharach, Morcheeba and many more) suggests his ears are more than trusted. As a manufacturer, we are therefore understandably delighted to receive this feedback from Steve with regard to the sE Munro Egg 150 Monitoring System:

"I'm loving the eggs! I got them about 3 weeks ago and set them up right away with the intention of doing comparisons between my Dynaudio BM5 / Hafler rig but was so impressed by their clarity, depth, warmth, brilliance and faithful reproduction of the solo strings, brass and prepared piano I'm recording for a filmscore I'm currently working on that I didn't need to do the comparison."

"Several musicians, producers, film directors and composers have been in and all are very impressed! The clarity is amazing!"

If you wish to evaluate the sE Munro Egg 150 Monitoring System in your own studio please contact sE directly (UK) or your local distributor about our Loan Service.

Win sE Gear Follow sE on Google+

Wed, 16 Nov 2011 00:00:00 +0000

Use Google+? Add sE to one of your G+ circles and you could win sE gear!

When we reach a certain number of followers, a name will be drawn randomly from the virtual hat and a lucky winner announced.

When we hit 2000 followers, a sE Electronics Reflexion Filter Pro will be given away.
When we hit 3000 followers the sE2200a II Multi Pattern will be given away.
When we hit 4000 followers the sE4400a Multi Pattern will be given away.

sE Google Plus Page

sE Egg Review - Audio Media Review sE Munro Egg 150

Wed, 16 Nov 2011 00:00:00 +0000

sE Munro Egg Review from Audio Media (November 2011 - Issue 252). Paul Mac is Editor of Audio Media magazine

Key quotes from Audio Media sE Munro Egg 150 Monitoring System Review

"the first time you listen to the sE Munro Egg monitor speakers, you'll experience the natural clarity of the whole. The first track I played was a James Taylor acoustic number and it was an emotional experience."

"...they [sE Munro Egg 150] defy their size, and their price, and they definitely defied my expectations. Neutral, clear, accurate - pretty much sums it up. Eggs should be able to satisfy as a monitor for recording, mixing, and mastering."

"...it's a bit of an eye opener to hear the mids so clearly, and in turn to experience such a natural spectral balance and exceptional separation of instruments."

"The bass is certainly lower and clearer than you'd bet on just by looking at the Eggs, but it's the depth and, again, clarity, that is so striking."

"You'd hope that for a monitor of this standing the image would defy the monitor position to the left and right, and it does. However, they also defied the monitor position in the forward-rear plane. They let the recording environment exist behind and in front of the monitors. Brilliant. The sE eggs recreated the recording space in an almost visual way - I could pick out the positions of the instruments and describe the space."

"(The sE Munro Egg) might even cause other manufactures to rethink their pricing. I'm certain you'd have to go a way up the cost scale to find comparable quality."

sE Egg Review (Audio Media Issue 252 / November 2011)

The new Egg from sE Electronics and Andy Munro promises to shake up the pro audio monitoring market in all sorts of ways. Paul Mac listens...

Okay, so they look... different. In the short time I’ve had with these monitors, initial reactions to their aesthetics have varied enormously. Some instantly fall in love, others look with curiosity and wonder how to start their next sentence, others begin with “What the...?”. However, everybody has, so far, ended up impressed on all fronts: looks, build, and sound. As they struggle with words I feel bound to jump in and explain very briefly that it’s not a gimmick – that they are egg-shaped for some very good reasons and that they were designed by an exceptional acoustic engineer. But maybe that’s unnecessary? Because with anything more than a cursory glance, it quickly becomes obvious that the ‘gimmick’ was mercilessly and precisely engineered out of this product quite a long time ago. Then they all ask “How much?” – expecting me to come up with an extraordinarily big number. They are therefore mostly disappointed. And then they hear them.

What’s The Crack?

But first, the facts. The sE Munro Egg 150 Active Intergrated Monitoring System (AIMS) is the first in a series of eggshaped sound-radiating systems, currently planned to number three. Smaller and bigger ones, I believe, are in the works. The Egg system was conceived, designed, and built as a collaboration between Andy Munro (Munro Acoustics), Siwei Zou (sE Electronics) and James Ishmaev-Young (sE Electronics). sE Electronics, after the success of its Rupert Neve collaboration (sE Rupert Neve is still on-going), approached Munro about collaborating on some sE monitors, and the partnership (sE Munro) was born.

This review is accompanied by a more in-depth chat with Munro (read this here) about the science behind the Egg. However, the short version includes a cabinet free of interfering resonances that also presents minimal interference to radiation patterns. Together with carefully designed electronics, Egg is Munro’s and sE’s offering in the category of neutral, accurate, professional monitoring.

While the system is active and bi-amped, the electronics have been kept out of the actual cabinets. This was because internal gubbins would have ruined much of the egg-shaped advantage in the cabinet, but it did clear the way for some additional features incorporated into the amplifier unit, and created the AIMS acronym, to make it quite clear that this is absolutely not simply an amp + passives deal.

The cabinets themselves are the results of six months computer aided design, protyping, and materials science, and each houses the drivers, a Speakon connector, and a recessed blue LED around the front. The LED itself is a work of monstrous genius. To get the sweet spot sorted, you simply angle the monitors until your retinas complain. Once the LEDs seem at their brightest, you’re in the optimum position and you can then turn the LED off with a switch at the back of the amp. The vertical angling of the monitors is helped by the small hinged stands that are supplied with the Eggs. These only angle the monitors downwards from vertical though. The sE take on this is that positioning monitors below head height is bad practice, so the lean-back option isn’t necessary. However, I do think that the real world has plenty of workstations on cluttered desks in converted garages, so a more liberal approach might have been warranted. On the other hand, how many wooden-box monitors can you adjust in any direction at all? It’s why encyclopedias have remained useful long after the Internet was invented.

The Speakon connection has two advantanges, one is, according to sE, superior quality and reliability. The other is simply that the system is still a carefully matched, closed, active system. sE Munro does not want anybody plugging non-Eggs in the amp, or Eggs into non-Egg amps. Thus, the system comes with two high-quality three-metre Speakon cables. Further to that, the left and right channels are matched to left and right speakers, which are labelled as such around the back and on their respective packaging.

The amplifier itself is a lovely piece of hardware that will not disappoint any knob-twiddlers searching for that heavy-weight, smooth, propermetal turning experience. The main effect though is the assurance that sE hasn’t skimped anywhere. The on/off switch is on the front of the amp (hurrah) and turns off the whole system, so there’s no blind fumbling for mains switches around the back of cabinets. The other controls are big clues to the incorporated ‘extras’. The large main volume control is accompanied by another large Aux volume control, a rotary Main/Aux switch, another switch – the Mid EQ – labelled with ‘Soft’, ‘0’, and ‘Hard’ positions, and a headphone socket.

First, that means you’ve got a volume control for your monitors that isn’t your console. The inputs for this are balanced XLRs switchable at the rear between +4dBu and -10dBV. In addition, you get an auxiliary input on RCA for consumer level devices. This means you can AB directly on the amp (with relative volume control), and plug in your player of choice without turning on everything in your studio. You can even plug a pair of headphones directly into the amp, defeating the speaker outputs. Hi-Fi people have been able to do this for years... who’d have thought it?

The last curiosity on the front panel is the Mid EQ, which originated with the idea that sE might be able to emulate the infamous NS10 hump with a spot of EQ. The development evolved, and after consultations and listening tests with some eminent producers, the idea of a switch to introduce the option of a subtle peak or trough in the critical vocal band (2.1kHz) came to light.

Recessed EQ trim pots are provided at the rear for those who require their services.

In-Ear

Sometimes when you audition monitors and compare them with others you end up searching for aspects of the sound – spectral qualities, imaging, transient excitement, and so on – to focus on and contrast. The language becomes complicated and the conclusion becomes more like a summing up in a difficult fraud case than a straight forward subjective assessment. These focus points are valuable, and I’m a big fan of the AES20 standard for defining the language and criteria for critical listening of loudspeakers.

In this case though, before you get to hone in on those aspects, the first time you listen to the Eggs you’ll experience the natural clarity of the whole. The first track I played was a James Taylor acoustic number and it was an emotional experience. That is, if you’ve ever wanted to know what it’s like to be James Taylor’s microphone, this is one way of going about it. You absolutely know that the listening session coming up will have to be extended as your music collection comes into focus.

So, what to concentrate on first? Well, the vocal band is clear. The mid sings rather than clogging up as many monitors do around the crossover. Actually, it’s a bit of an eye opener to hear the mids so clearly, and in turn to experience such a natural spectral balance and exceptional separation of instruments.

The bass is certainly lower and clearer than you’d bet on just by looking at the sE Munro Eggs, but it’s the depth and, again, clarity, that is so striking. In fact, depth in the low-end is not something I hear all that often in smaller monitors – it’s mostly all about extension rather than detail. But the Eggs have the detail, and the extension as well.

For imaging and sound stage I used some exceptional classical recordings and was not disappointed. You’d hope that for a monitor of this standing the image would defy the monitor position to the left and right, and it does. However, they also defied the monitor position in the forward-rear plane. They let the recording environment exist behind and in front of the monitors. Brilliant. The eggs recreated the recording space in an almost visual way – I could pick out the positions of the instruments and describe the space.

Of course, I tested the headphone outputs and the hard / soft switch. The headphone output works absolutely fine and the switch...Well, the effect of the switch is spectacularly subtle. I was concerned, for a while, that it wasn’t doing anything. Indeed, the lift/cut is only a matter of 1.5dB, so that’s hardly surprising. Audio people might be nervous about admitting such a thing, so I've broken the ice. I either needed to have exactly the right material – a vocal right on the centre frequency of the bell, or I'd need to be so utterly familiar with the material that it might help towards the end of a mixing day when nothing seems as bright any more. For me it was a litle too subtle. 3dB or more either way would have been my choice because I'd want to properly emphasise a band, rather than test my hearing. Others though might say it’s perfect.

I’d love to go on about this, but there really isn’t much to say about the sE Munro Egg listening experience except that they defy their size, and their price, and they definitely defied my expectations. Neutral, clear, accurate – pretty much sums it up. The listening session went on way longer than this review. Eggs should be able to satisfy as a monitorfor recording, mixing, and mastering.

Buyer Be Aware

Even after all of this, there are a couple of incentives to add to the pot... Namely, two warranties that sE Munro notes as 'a hugely important statement of quality and service'. The first is a three-year warranty that includes a 'zerodowntime loan service' in case repair is necessary. The second is a five-year manufacturing defect warranty. These are both significant offers for studios and creatives that rely on monitoring in the same way that car drivers rely on seethrough windscreens.

Of course, there’s also the on-going free loan service that sE offers to all prospective customers – essentially a no-strings try-before-you-buy (or don’t) scheme that can be organised through an authorised sE Munro dealer, or directly.

Conclusion

After the ample feature set, after the offers and incentives, and after the science, I think there still remains an important point to make. Andy Munro and sE Munro has gone old-school with the Egg. There’s no DSP, there’s minimal ‘voicing’ electronics, and the neutrality of these monitors is more down to fundamental acoustic design solutions than problem modification features. And actually, you can hear that. You can hear that nobody is faffing or fiddling with your signal and that air, and the source, is doing most of the work.

It’s the closest thing I’ve heard to actually being the microphone in a wide price bracket. It might even cause other manufactures to rethink their pricing. I’m certain you’d have to go a way up the cost scale to find comparable quality.

sE Munro Egg 150 Monitoring System

Deadbeat Echoes, Project 9 Studio and the sE RNR1

Thu, 10 Nov 2011 00:00:00 +0000

Producer Andrew William Spence (Project 9 Studio Co-Owner) has very kindly sent us a great picture of Deadbeat Echoes' guitarist, Andy Brown, with the sE Rupert Neve RNR1. The photo was taken from the “Surge of Youth” sessions in October 2011 by Dead Beat Echoes Manager, Tom Dunn. Andrew William Spence:

“I tried 3 or 4 ‘industry-standard’ guitar amp microphones on the session but nothing came close to the RNR1 on the day.”

About Andrew William Spence

Andrew is an established recording engineer and producer based at Project 9 Studio in Cheshire. Andrew’s previous clients include The Doves, The Happy Mondays, I Am Blackbird, Dead Beat Echoes and Graham Massey (808 State). Andrew is currently working with Julie Gordon (The Happy Mondays) on her forthcoming EP due for release in early 2012.

Latest News: sE Electronics is now on Google+ - add sE to your circles and keep up to date with the latest sE News, Reviews and Competitions.

sE Electronics Google+ Page, Facebook and Twitter News

Wed, 09 Nov 2011 00:00:00 +0000

This week, Google+ launched brand pages for companies, a concept similar to Facebook’s. But should sE Electronics have a Facebook page and a Google+ page and where does Twitter fit into all this?

We’re not entirely sure how this will play out suffice to say that we created a sE Electronics Google+ account today and we welcome Google+ users. You can also access the account directly from the G+ logo on the homepage.

One idea we’ve had in the office today is that we create “country” circles so we can stream relevant information to anyone who has added sE to their circles and then we share only geographically relevant information such events, local competitions, promotion of local studios, artists, bands etc. For example, would someone in New York really want to know about the event happening in Manchester (England) this weekend?

We launched our new website at the end of October and we’re delighted to report that our traffic is increasing every day. Our interviews with leading producers are proving popular. Maybe we should create Google+ circles based on genre of music the articles to relate to?

Engage with sE via your social media of choice and tell us what you think. We will endeavour to refine our content so you only receive relevant information. This is an interesting time for musicians, producers, engineers, bands, artists, project studios and brands such as sE Electronics, sE Rupert Neve and sE Munro who use social media to engage.

sE Electronics, sE Rupert Neve, sE Munro Google+

sE Electronics, sE Rupert Neve. sE Munro Twitter

sE Electronics, sE Rupert Neve, sE Munro Facebook

How does Mike Hillier like his Eggs?

Wed, 09 Nov 2011 00:00:00 +0000

Mike Hillier is a freelance sound engineer and music technology journalist, based in London, UK. His magazine work includes various positions at Music Tech Magazine since 2004, including News and Reviews Editor. From Mike Hillier via Twitter this evening:

"After fairly extensive listening over the last 24 hours. I can say I'm pretty much in love with the sE Electronics Eggs"

Indeed, after contacting Mike this evening, we've been told we can't have them back! We're looking forward to a full review in Music Tech Magazine of the sE Munro Egg 150 Monitoring System.

About Mike Hillier

As an engineer, Mike begun at Metropolis Studios, London, where he worked with artists as diverse as Eminem, Rihanna and Scott Walker. Working with Music Tech Magazine keeps Mike at the cutting edge of music technology, enabling him to bring some of the newest hardware and software to bear on projects.Similarly, working out of the world-class Metropolis Studios enabled Mike access to a huge range of equipment and expertise, from tracking right through to mastering. This experience enables Mike to now work out of a variety of studios, quickly finding out how to get the best from whatever equipment, vintage or new is available.

http://www.mikehillier.me/Mike_Hillier/Home.html

Steve Bentley-Klein talks Microphones with sE

Tue, 08 Nov 2011 00:00:00 +0000

Steve Bentley-Klein has an incredibly eclectic musical career… what mics does he use to cope with these demanding needs? sE of course…

Steve Bentley-Klein has an outstanding career as a ‘Concert Master’ with legends such as Dame Shirley Bassey, Barry White, The Moody Blues, Rod Stewart, Burt Bacharach, Johnny Mathis and many others.

Steve's album collaborations (of which there are many) include Morcheeba (Who Can You Trust?), Big Calm, Fragments of Freedom, Jon Roth (Prelude, Transcendental Sky Guitar, Metamorphosis) and performing / touring the No.1 Paolo Nutini album ‘Sunny Side Up’. Currently, Steve has joined Deep Purple on the 'The Songs That Built Rock Tour' which features a full orchestra. Steve is a very busy man but has made time to talk microphones with sE's James Ishmaev-Young.

sE Endorsee: Steve Bentley-Klein
Occupation: Composer, Arranger, Producer, Conductor, Multi-Instrumentalist
Artists: Barry White, Deep Purple, The Moody Blues, Rod Stewart, Burt Bacharach, Johnny Mathis, Michael Bolton, Morcheeba and many more…
Mics/gear: Gemini II, sE4 pair, sE Rupert Neve RNR1

Key Quotes:

“The Gemini II has superb clarity in the top end, coupled with the kind of full bodied sound you’d expect from a world class tube mic… stunning!”

“My mics do a lot of touring and need to be able to withstand heavy use and abuse and still perform to the highest standards in situations where you simply have to get it right first time… sE mics do exactly that”

Steve Bentley-Klein Interview with sE Electronics's James Ishmaev-Young (Nov 2011)

Steve Bentley-Klein's dad was a jazz sax player, so music was bound to be in Steve's blood. As a youngster, living in London, Steve would sleep next to a record player constantly playing Stan Getz records. Steve started early as a musician, taking piano, violin and tenor horn lessons from a young age, and quickly started exploring Indian ragas and jazz as well as his usual classical lessons.

He went on to study violin and composition at the Guildhall School in London and at the Manhattan School in New York with the great Heifetz protégé Erik Friedman. For the past two years, Steve has been the Musical Director for the ‘International Sam Mendes / Kevin Spacey Bridge Project’ and has performed extensively at the National Theatre with Sir Trevor Nunn, Sir Nicholas Hytner and Michael Neiman.

Steve’s studio in Vyner Street, East London is where he does nearly all of his recording these days. He has a vocal booth and is wired in to the adjacent live room with a piano and room for a full band. The studio is Logic based with an Apogee Ensemble together with API mic pre’s, sE4 pair, sE Gemini II, Neumann, AKG and sE Rupert Neve RNR1 mics. All of Steve’s mixing is done ‘in the box’ (Mac) and routed through a Mackie mixer.

“I was very impressed with the Gemini II in blind tests posted on the net, and several colleagues had raved about it so I really wanted to use one in anger. I had wanted to get hold of an old U47 but once I got the Gemini II and played with it I was really happy… I’ve been using it a lot. Recently for vocals, Alto Sax… all sorts, it’s become one of my favourite mics”.

“I did a hugely important orchestral recording recently in the gallery with ‘Celebration’ by Olga Thomas as a special gift from ‘Cruise’ charity to Queen Elizabeth II and the Royal family to mark the recent royal wedding of Prince William and Kate Middleton and used the sE4 pair for this on the string section… they were perfect mics for the stereo room sound, and are also great when tracking violins up with different mic pre’s to build a section sound in the studio. The Gemini II was used on the Cello solo on this recording as well.”

In fact Steve’s sE mics are getting a lot of use on a host of different projects; his sE Rupert Neve RNR1 ribbon mic was recently used on Nick Franglen’s (Lemon Jelly) album for violin and trumpet, the sE Gemini II on Mark Feathers' album for violin and viola, the sE4 stereo pair and Gemini II on Deep Purple’s arrangements for the "Songs that built Rock" tour 2011… the list goes on and on!

The sound of course is the most important part of a mics function, and arguably the most important piece of your recording chain since it’s the first ‘point of entry’ into your recording system... but Steve is clear on the importance of build quality too…

“The sE mics give me the kind of ‘warm’ and yet crystal clear sound that I want and need in my recordings. They’re a great blend of unique character and faithful reproduction. The extremely solid build quality and reliability, which I put down to the fact that all sE’s mics are hand built to the kind of standards you’d expect to get from the old school European manufacturers of 20 years ago, is incredibly important too. My mics do a lot of touring and need to be able to withstand heavy use and abuse and still perform to the highest standards in situations where you simply have to get it right first time… sE mics do exactly that”

PMT Manchester Music Live Event

Mon, 07 Nov 2011 00:00:00 +0000

UK retailer, PMT (Professional Music Technology) are celebrating 20 years of music making with Music’s Live 2011 at the PMT Manchester store on Saturday 12^th November and Sunday 13^th November.

Join sE Electronics, Gibson, Epiphone, Godin Guitars, Yamaha, Roland, Boss, Peavey, Trace Elliot, Digitech and more for demonstrations, clinics and live music.

With the demise of Music Live in 2010, PMT promise a full blown retail music show. However, unlike Music Live, Music’s Live is free to attend. PMT have told us:

“It is free to get in and free to park helping your money go further, and because it is in-store, part exchanges are welcome. There is also a 9 month 'Buy Now Pay Later' interest free facility available (subject to status) making Music's Live a musician's paradise for a bargain.”

Steve Chant from sE Electronics will be at PMT Manchester on Saturday 12^th November (only) offering microphone advice as well as demonstrating the sE Munro Egg 150 Monitoring System for the first time in the North-West of England.

Pro Audio Review Awards sE Egg Best of AES

Mon, 07 Nov 2011 00:00:00 +0000

The sE Munro Egg Speakers were awarded "Best of Show" at AES NY by Pro Audio Review, Pro Sound News, Pro Sound Network, Audio Media and MIX magazines.

The editors of Pro Sound News (PSN) and Pro Audio Review (PAR), with assistance from the editors of sister titles MIX and Audio Media, trawled the exhibit halls at AES NY in October for new and noteworthy products. Any product debuting at AES was eligible.

The ProSoundNetwork "Best of Show Awards" for the 131st AES Convention were compiled via nominations from PAR and PSN contributors and editors. To say that we're delighted with this award for our very first sE Munro product, would be an understatement.

sE X Factor

Tue, 01 Nov 2011 00:00:00 +0000

Some eagle-eyed UK members of the sE microphone community on Facebook have recently commented on our wall that they have spotted (over the last few Saturday evenings) the sE Gemini II, sE Reflexion Filter Pro and Pop Filter on the British TV show, The X-Factor.Although, someone thought the mic might have been a Neumann! It was n't.

The truth is that sE Electronics have loaned this year's UK X-Factor:

Gemini II Dual Tube Vocal Mic
sE Reflexion Filter Pro
sE Stand One
pop stop

sE Blindfold Test On The Gadget Show

Mon, 31 Oct 2011 00:00:00 +0000

British TV technology show, The Gadget Show, asked if they could borrow a sE Reflexion Filter Pro, pop filter and microphone for an episode scheduled to be aired on November 7th on Channel 5. Naturally, we said yes.

However, we've not been told exactly what the Z3300a, sE Pop Filter and Reflexion Filter Pro are being used for except that the shoot did involve a blindfold. Catch The Gadget Show on Monday 7th November at 8pm on Channel 5.

In the meantime, if you wish to know how the sE Refelxion Filter Pro works, here's a video.

sE RN17 Wins Drum Overhead Mic Shootout

Thu, 27 Oct 2011 00:00:00 +0100

Grab a coffee, take a 10 minute break and enjoy the "Prairie Sun Drum Overhead Mic Shootout" from one of the world's leading microphone blogs Recording Hacks. This robust drum overhead microphone shootout includes audio samples. Matt McGlynn of Recording Hacks comments:

"We have no affiliation with Milab, Nevaton, Earthworks, Mojave Audio, sE Rupert Neve, Oktava, AKG, Schoeps, or Neumann, and received no compensation for this review."

Unsurpringly, sE Rupert Neve are delighted with the feedback received with reference to the sE Rupert Neve RN17 Stereo Matched Pair.

"The sE RN17 has it all. Every positive adjective I can use for any of these other mics, they all apply to this one. Smooth, balanced, warm, present, articulate… it’s like somebody went through these tracks and EQ’d away every bit of high-end hash and low-frequency wooliness and left behind just the stuff I want to hear. The bottom is tight, like the C460B, but the sE RN17 hears farther into the room than the AKGs do. The top is ever so slightly sweeter than “natural,” but not hyped. I would use the hell out of these mics. My compliments to Mr. Neve and Mr. Zou!"

Read the full microphone shoot out (including audio samples) here and compare the Mojave Audio MA-101 FET, Nevaton MC49-C, Earthworks Audio SR40, sE Rupert Neve RN17, Milab DC-96C and DC-96B, Neumann KM 85, Neumann KM 54, Schoeps M 221 B, Oktava MK-012 and AKG Acoustics C 460 B.

If you have only a few minutes, here's the introduction providing a context for this shootout to encourage you to bookmark this review of small diaphragm condensers to digest later!

"Prairie Sun is one of Northern California’s coolest recording studios. It’s not just the funky rural setting, with the studio spread out across a half-dozen outbuildings that could easily be mistaken for just-another farm… nor the collection of vintage gear that has to be seen to be believed… nor the client list, which runs the spectrum from Paul McCartney to Primus… Rather, it is all of those things together, plus the studio’s 30-year history in one location under the direction of one guy, namely Mark Rennick — known to everyone as Mooka.Mooka and I had only recently met when he mentioned that he might be interested in checking out some new drum overhead mics. I admit it, I get the shakes when someone says drum overhead shootout. I can’t help but immediately start thinking of all the microphones I’d love to put above a drum kit — old favorites and new contenders too.The story, as I understand it, is that the studio wants to retire some of its vintage microphones. The Neumann KM54s, Schoeps M221Bs, the AKG C61s, and so on, all sound great on drums, but there is a high expense to keeping these things sounding as good as they do. I think Mooka wanted to know if something contemporary would suffice — with the added benefit of not being impossible to replace if one inadvertently hits the ground. With such formidable competition, I knew I would need to bring in some big guns. So I put together a $12,000 collection of the finest small-diaphragm condensers on the market today"

Find out more about Prairie Sun Recording Studios here. Recording Hacks' Prairie Sun Drum Overhead Mic Shootout complete with audio samples can be enjoyed in it's entirety here.

If you wish to evaluate the sE Rupert Neve RN17 Stereo Matched Pair in your own recording environment, please do not hesitate to contact sE directly, your local distributor (if you are outside the UK) or your local sE dealer, and ask about our FREE Loan Service.

WIN Recording Masterclass at Air Studios

Thu, 27 Oct 2011 00:00:00 +0100

This weekend (26th and 27th November 2011), Air Studios in North London will be hosting a "Guitar Recording Masterclass". Fancy spending a weekend recording guitars with some of the UK’s most experienced producers, engineers and guitarists?

Attendees will be presented a diverse, informative, educational and entertaining program of technical seminars, practical demonstrations and listening sessions in AIR's Lyndhurst Hall. Tickets are £450 but answer the question below and you could WIN a ticket!

As a partner to this event, sE Electronics microphone users (and fans) have the opportunity to purchase a ticket at the special price of £299 inc.vat. All you have to do is enter the discount code: SEE10DISC at the checkout on the Air Studios booking page.

The masterclass will feature performances, demonstrations and Q&A sessions with world-renowned guitarists, including Elliott Randall - (Steely Dan, Carly Simon, The Blues Brothers, James Galway, Eddie Kramer); guitarist / UK producer Leo Abrahams (Brian Eno, Imogen Heap, Paul Simon, Annie Lennox and Grace Jones) and seminal guitarist and music producer Phil Manzanera (Roxy Music, David Gilmour, Brian Eno, Steve Winwood).

Joining Elliott, Leo and Phil will be legendary producer Tony Platt (Led Zeppelin, Bob Marley, AC/DC, Iron Maiden, Gary Moore, The Bad Plus) and AIR engineer Rupert Coulson (Rolling Stones, Katie Melua, William Orbit, Oasis, Mark Knopfler, Danny Elfman, Sir George Martin). Professor Dave Fisher, former director of the Tonmeister course at the University of Surrey, will offer theoretical and practical presentations on the basics of acoustic, microphone operational principles and microphone technique.

How Do I WIN a ticket for the Air Studios "Guitar Recording Masterclass"?

e-mail the answer to the following questions to marketing@seelectronics.com before 10pm 24/11/11

Apart from acoustic guitar and electric guitar, what instruments does producer, songwriter and remixer Jake Gosling (Wiley, Ed Sheeran) record with the sE4400a?

Winner will be picked from the virtual hat on Thursday 24th November at 10pm (GMT). The answer to the question may be here.

For more information regarding this masterclass visit http://www.airstudiotraining.com/

Rik Simpson recording Coldplay with sE Mics

Thu, 27 Oct 2011 00:00:00 +0100

Updated 7th March 2012 as Rik has given up cigarettes and so we have removed the cigarette from the image on the right!

Producer Rik Simpson on recording Coldplay with the sE4400a and sE Rupert Neve RNR1, and his new love affair with sE mics ...

Rik Simpson has switched his vintage AKG 414’s for the sE4400a multi-pattern condenser mic and found the elusive character he wanted for Coldplay’s latest album. In this interview he talks about the revelation of using sE’s hand-crafted microphones and sE Reflexion Filter products and how they’ve changed his recording world.

sE Endorsee: Rik Simpson
Occupation: Grammy Award winning Engineer/Producer, Musician and Songwriter
Artists: Coldplay, Jay-Z, Portishead, Kasabian, PJ Harvey
sE Mics/gear: sE4400a, sE RNR1, sE Reflexion Filter Pro, sE IRF2, sE Stand 1

Key Quotes:

“Having used the sE4400a’s for the piano parts on Coldplay’s latest album I wish I’d had them on piano duty for the previous record too, quite a statement to make considering how the band are renowned for their piano parts and sounds…”

“The first time I heard the sE4400a’s I realized that the personality I’d been missing from my vintage 414’s was back in reach, I haven’t looked back since”

“The RNR1’s are amazing… the first mic I’ve ever heard that removes the speaker from the listening experience. It’s like the source you’re listening to is right there in front of you, all the technology seems irrelevant and non-existent... no other mic has had this effect on me… incredible!”

Rik Simpson Interview with sE Electronic's James Ishmaev-Young (Oct 2011)

Rik Simpson knows his stuff… his 2009 Grammy for Coldplay’s ‘Viva la Vida’ is testament to a man who is at the very top of his profession, but his roots, like most great producers, are modest, and he worked his way up from studio ‘tea boy’ to where he is today by working and learning alongside the best…

“Young boys are interested in one of two things, being a footballer or being a pop star. I’ve always been s*** at football, and the pop star thing (although I gave it a good go) was tentatively out of my reach, so I settled with being a record producer, the next best thing!”

Rik started very young, moving to London as an assistant at Swanyard Studios, a large studio in Islington, unfortunately no longer there. Over the next 20 years he worked and learned from many of the big name producers and bands of the time, moving around the best studios in London. He eventually ended up as a Grammy award winning producer himself, which finally lead to him designing and building two studios for Coldplay in North London and most recently, producing two of their records.

He has also worked with Jay-Z on the ‘Kingdom Come’ Album and previously gained much critical acclaim for his work with Portishead, Kasabian, Black Rebel Motorcycle club and PJ Harvey to name but a few. As well as the technical sides of recording and mixing he often contributes musically, playing and singing on many of his productions, and is also one half of production duo ‘The Darktones’, with Coldplay bassist Guy Berryman.

Rik’s main kit is a Pro Tools rig, loads of nice mics and pre-amps, an SSL Matrix console and Barefoot speakers, but while these are invaluable tools he’s very candid about what makes a great record…

“The main bit of the studio process for me has to be the music. A great album could be recorded on a laptop or a cassette machine as long as the songs and performance were right. My role is a conduit to the flow of the creative process. I know that sounds a bit w**k but it’s totally true, the band has to feel comfortable with me so they forget I’m there and can just switch off and play…”

“That said of course, you have to get the music down right, so the right gear plays an important role in that… we do a lot of band takes where everyone is playing together in the same room. sE’s Reflexion Filters have been invaluable for conquering spill problems between mics. I have both the IRF’s (Instrument Reflexion Filters) and the big Pro ones (Reflexion Filter Pro), on drum, guitar and piano mics, which massively cut down the bleed between the different sources.”

“Mic wise, the 4400a’s have been a revelation. I always used to use the vintage AKG 414’s at Mayfair Studios in north London whenever I was recording piano, the mics sounded just how I thought piano should sound in my head. When the studio died I kicked myself for not buying them and ended up buying the new 414’s for Coldplay’s studio. Unfortunately, although they are decent mics, the new 414’s sound nothing like the vintage ones, they lack the flavour and character found in the originals. The first time I heard the sE4400a’s I realised that the personality I’d been missing from my vintage 414’s was back in reach, I haven’t looked back since. I need to get some more stereo pairs, as they’d be great on guitars and drum overheads.”

Rik has also fallen in love with the mics that sE have been collaborating on with Rupert Neve…

“The RNR1’s are amazing! I use them on acoustic instruments and for room duties, to get the ambience you need to really give life to the recording and help ‘gel’ everything together. This is the first mic I’ve ever heard that removes the speaker from the listening experience. By this I mean it’s like the source you’re listening to is right there in front of you, all the technology seems irrelevant and non-existent. I know this sounds a bit far-fetched but I kid you not, no other mic has had this effect on me… incredible!”

The sE 4400a’s and RNR1’s Rik owns, have been used on every song on the new Coldplay album (Mylo Xyloto), as well as a record (‘You & I’) he produced with Guy, for New York band, The Pierces, which has just gone gold in the UK.

“Having used the 4400a’s for the piano parts on Coldplay’s latest album I wish I’d had them on piano duty for the previous record too, quite a statement to make considering how the band are renowned for their piano parts and sounds…”

Rik is now in the process of accompanying the band on tour around the world for the initial album promo gigs, making sure that any TV and radio broadcasts of live performances sound as close to recorded material as possible. Beyond that he plans to get more into mixing, and has a lot to offer in that field, so watch this space…!

“As far as sE goes I’m intrigued to see how their ribbon range develops, I’m very much looking forward to searching for the ultimate guitar tone with the help of sE… I also have to mention at this point the mic stands. They are the easiest to use heavy-duty stands I’ve used… well-made and not unwieldy, they hold the weight of a large condenser mic (a very expensive one at that) and the Reflexion Filter Pro no problem.”

…and a final note…

“sE mics have saved my arse on more than one occasion…

...just put them in front of stuff, they sound the s**t…”

Latest sE 4400a News:

WIN a 4400a with Audio Media

Audio Media is one of the world's leading professional audio technology magazines. The digital version of Audio Media is FREE. If you are interested in audio-for-video, broadcast, internet audio, live sound, multimedia, post production and audio technologies in general, subscribe here and you could WIN a sE4400a.The prize draw is monthly!

Jake Gosling recording No.1 artists with sE Mics

Thu, 27 Oct 2011 00:00:00 +0100

Jake Gosling is a music producer, songwriter, remixer and manager best known for his work with artists such as Wiley and Ed Sheeran. In this interview, Jake talks to sE about his studio essentials including his vast sample library and his sE Electronics Z3300a, sE4400a and sE1a microphones.

sE Endorsee: Jake Gosling
Occupation: Music Producer, Songwriter, Remixer & Manager
Artists: Ed Sheeran, Wiley, Mark Ronson, Timbaland, Lady Gaga, Justin Timberlake
Mics/gear: sE4400a pair, sE Z3300a, sE1a pair, sE Stand 1

Update January 2012: Ed Sheeran "+" reaches triple platinum with over 900,000 sales!

Key Quotes:

“I use the sE4400a pair all the time now! I record a lot of guitars and live piano with them, and they’re a fantastic vocal mic too… they are a major asset to what I do and capture such a broad range of sound so well that there’s nothing else comes even close”

“The 4400a’s are incredibly versatile… a brilliant set of mic’s, and nowadays I can’t live without them.”

“The mics build quality, performance and sound are totally reliable and very true”

Jake Gosling Interview with sE Electronics' James Ishmaev-Young (October 2011)

Jake Gosling is a Music Producer/Songwriter & Remixer with quite some CV to his name. He started playing in bands at college and usually ended up producing the bands he was in, so it made complete sense to make it his full-time profession. He’s been a singer in many bands and also plays keys, drums, accordion, melodeon and percussion but making ‘beats’ and playing with samples is what he does best. He also uses a mix of analogue with digital by ripping up vinyl, sampling and creating his own unique sound.

Jake has an extensive range of tracks from pop and singer-songwriter ballads through to Grime and R&B / Urban tracks. Since 2009, he has immersed himself in the urban scene and has become a key producer and songwriter in this genre. He has co-written and produced with the godfather of Grime… Wiley, and a host of others including the likes of The Crookers, Pitbull and Mark Ronson.

Jake has realeased a number of official remixes under the alias 'Sketch Iz Dead' for Lady Gaga, Timbaland, Timberlake, Kerri Hilson, Wale & Far East Movement. Jake has played a pivotal role in developing a number of new artists, including Ed Sheeran who Jake ‘found’ when Ed was just 15. Over the last 5 years working together Jake has written and produced several EP’s and released ‘No.5 Collaboration’ project, which went to No 2 in the iTunes Album Chart as a completely independent release!

Jake has also produced and co-written Ed Sheeran’s new album ‘+’ for Asylum/Atlantic Records, which went to No.1 in the UK’s Official Album Chart, selling more than any other debut artist in the first week ever (!), and with two Top 5 Hits ‘The A Team’ and ‘You Need Me I Don’t Need You’.

He is also composing the sound track for the Film ‘Twenty 8K’ along with Ruth Barratt, due for release March 2012, a UK urban film from the writers of the hit show ‘Shameless’.

“My set up has really gone pretty much into the box; I work on Cubase 5 and Ableton for recording and programming, and use a lot of outboard/keys such as Jupiter 8, live Piano, Rhodes, Korg MS2000, and USB record player and tons of Vinyl! One of the main essentials is my vast sample libraries which I have made up from hours and hours of painstakingly going through records and old DAT’s and finding unique sounds that I like… and the other essential… my sE mics.”

“When I was first looking for a really good microphone and my budget was tight I decided on the Z3300a, I liked the way it was clean but warm and had a great sound to it that I felt really worked for capturing vocals. I also use the sE4400a pair all the time now! I record a lot of guitars and live piano with them, and they’re a fantastic vocal mic too… they are a major asset to what I do and capture such a broad range of sound so well that there’s nothing else comes even close. The 4400a’s are incredibly versatile, not just for their ability to capture a huge variety of source material, but also because they are small and have a very clever shock mount system which means you can get them into awkward spaces quickly and easily. A brilliant set of mic’s, and nowadays I can’t live without them.”

“I’ve used and collected a number of different mics over the years, but the sE range suits me down to the ground with detailed and characterful sound. It’s an added bonus that sE mics that compete with the best of the really high-end brands out there cost a hell of a lot less money.”

“The mics build quality, performance and sound are totally reliable and very true. I use the Z3300a on most vocal sessions, though it’s also great as an overhead mic on live drums, and guitar amps for the sound of the room. The sE1a pair and 4400a’s get used on pretty much everything; vocals, rap, percussion, snare’s top and bottom, Hammond, electric guitars, acoustic guitars, violins and strings.”

Jake used the Z3300a for the main vocals on the Wiley album ‘See Clear Now’ including the single ‘Electric Boogaloo’, and on The Crookers Album ‘Tons of Friends’. The Z3300a was also used extensively on Ed Sheeran’s Albums ‘Collaboration No.5’, and most recently for all the vocals of his new No.1 hit album ‘+’ along with the 4400a on all acoustic guitars, live pianos and percussion.

…and a final note...

“The heavy duty mic stands sE makes are also a big must… when you’ve invested in decent mics you don’t want them to end up on the floor!”

Here is Ed Sheeran on YouTube in Jake's Studio (Sticky Studios) performing "You Need Me, I Don't Need You" completely live with guitar, looper pedal and the sE Electronics Z3300a. Grab a coffee and enjoy, this clip has had over 4 million views!

Video - How does the sE Reflexion Filter Work?

Thu, 27 Oct 2011 00:00:00 +0100

With a variety of portable vocal booths on the market, it is easy to forget that the sE Electronics Reflexion Filter Pro was the original 'Reflection Filter'. If you are looking to buy a 'portable vocal booth', please do take a few minutes to review the video:

VIDEO: Why sE Reflexion Filters Work & Others Don't

In this video, sE Electronics' James Ishmaev-Young explains both 'multi-layer reflection filter technology' and why using a semi-circular baffle with a solid, hard backing lined with foam – the format of many reflection filters / portable vocal booths which are not manufactured by sE Electronics – could make your tracking worse than using nothing at all.

The sE Reflexion Filter Pro, sE Project Studio Reflexion Filter (also known as Baby Reflexion Filter) and sE Instrument Reflexion Filter all use patented sE 'multi-layer technology'.

If you are looking to buy a reflection filter, review this video before parting with cash!

USE GOOGLE+? WANT TO WIN A sE REFLEXION FILTER? READ THIS

Courtney Pine

Thu, 09 Jun 2011 00:00:00 +0100

sE Endorsee: Courtney Pine
Profession: Professional Musician - Sax legend
Mics/gear: Gemini II, 4400a pair, sE4, Z5600aII, RNR1
Key quote: "I've compared my sE mics to 'classics' which are three or four times the price and found them to easily stand up to and better those 'old-school' mic brands… sE mics are true modern day classics… they're for people who care about music"

Courtney Pine is one of the true British Jazz legends of our time. In a career spanning almost 25 years he's played with many of the Jazz greats, won the prestigious Mercury award, a MOBO, an OBE and a CBE in recognition of his services to the black community and Jazz

No one better embodies the dramatic transformation in the British Jazz scene over the past twenty years than Courtney Pine. The saxophonist heads a new generation of exciting and innovative musicians who have chosen to turn their talents to the demanding requirements of jazz music, in all its shapes and forms.

His debut album, 'Journey to the Urge Within' in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc. It was a remarkable achievement in British jazz history and established Courtney Pine as the leading figure in the British jazz scene and an inspiration to many young black musicians.

Between playing at Nelson Mandela's 80th birthday concert at Wembley and being awarded an CBE in 2009 his career saw him reach international status, first reaching no. 14 in the US Billboard chart in 1992 with a remix of his 1990 album 'Closer to Home' and then with the release of Within the Realms of our Dreams', recorded in New York and featuring such US talents as Charnett Moffett, Jeff Watts and Kenny Kirkland. The release of the album combined with Courtney performing concerts with an All Star American band in the UK and USA, confirmed his international status.

Signing to PolyGram in 1995, and most recently with Destin-e Records he has seen success after success, and worked with many of the biggest names in the music industry including Cassandra Wilson, Carleen Anderson, Roni Size and many, many more…'Modern Day Jazz Stories' also won the prestigious Mercury Music Prize - '1996 Albums Of The Year' and Courtney was honoured with a MOBO (Music Of Black Origin) Award for 'Best Jazz Act' for two years in a row (1996 and 1997).

In addition to his recording career, Courtney is now a renowned presenter and broadcaster, with his own, long running, radio show for BBC Radio 2, 'Jazz Crusade'. He made his debut as musical director on the Windrush Gala Concert for the BBC and led his own band performing his own arrangements with an all-star line-up at the televised ceremony in London. He also composed and performed the soundtrack to the BBC's definitive 2 part documentary on Nelson Mandela: 'Mandela - A Living Legend', as well as his flagship concert 'Jazz Britannia' from The Barbican which was televised as part of the BBC series of the same name.

Courtney was the subject of the prestigious South Bank Show, with an hour long programme, documenting his career so far, shot in London, New York and Jamaica. Broadcast in November 2000 on LWT, the show was watched by a staggering 1.1 million people.

On the live circuit, he is the ultimate road warrior with more than 25 years touring behind him. He has played across the world - from the main stage at Glastonbury to the intimate Blue Note Tokyo, Japan and continues to tour internationally with his award winning band.

In recognition of his career to date and his contribution to the black community and jazz music, Courtney was awarded an O.B.E in the 2000 New Year's Honours. He was voted Best British Saxophonist at the Ronnie Scott's Jazz Awards in 2007 and winner of Best Jazz Act at the Urban Music Awards

Courtney was appointed a CBE in the New Years Honours 2009

Phew! So what does a living jazz legend put his success down to?

"Its other musicians, the talent they bring to their instruments and their personal experience!" says Courtney, typically low key about his own achievements.

To capture this musical talent Courtney uses a ProTools set up, Sibelius and a Focusrite Control 24 desk, Tannoy Eclipse, KRK4 and Auratone speakers, a Lexicon 480L, Eventide H3000 and a "bunch of other stuff" including a raft of his favorite sE mics.

"My favorite, because it is so unique, is the sE Rupert Neve RNR1 Ribbon mic. I have just started to use it and found it to be truly remarkable… a real modern day classic… for recording woodwind there is simply no equal."

"I use the sE4400a on every session I do nowadays. It's incredibly flexible and durable, with honest and open characteristics. I've used it on pretty much everything, from Mandolin and Congas, to Triangle and acoustic Piano, and it recorded all those tones and frequencies perfectly without any fuss or bother."

So why do you use sE mics as your preferred choice?

"In this day and age the modern day musician has the ability to engineer precisely their compositions, so having a mic you can trust is imperative in this process. My collection of sE mics are very specified to the recorded instrument, which not only means that I have developed a personal composition sound throughout my career, but I've also achieved an extremely personal sound which I've only been able to do because of the inexpensive cost, quality and flexibility of my mics… instead of just using one or two ultra-expensive 'big brand' mics, I've been able to easily match the performance and quality, with hand-crafted mics that cost a fraction of the price. That's meant I can extend my mic cupboard far more than previously, and that in turn has allowed me to experiment with, and refine, my sound on a wide array of instruments and styles."

Can you give some examples of the kind of things you've used your mics on?

"I've used my mics all over the albums I've recorded in recent years, and even film soundtracks, including "It Was an Accident", on Omar Puente's CD. 'From There to Here', Cameron Pierre's CD's 'Pad Up' and currently on 'Radio Jumbo' and for my CD's 'Resistance', 'Transition in Tradition', 'Europa', and for various other sessions that I've been called to work on overdubbing at my own studio… I also take my mics with me to use on location recordings, for example the BBC 'In Sessions'"

"There are too many times to mention when having certain mics before would have made a big difference to a session, but the recent inclusion of the RNR1 in my set up, which arrived in the middle of recording my latest CD 'Europa' forced me to re-record three tracks because the tracks I recorded with the RNR1 made my Bass Clarinet sound so amazingly real!"

So what of current projects?

"I am working on Dominican Guitarist Cameron Pierre's new CD 'Radio Jumbo' which is a Caribbean Zouk-style guitar lead CD; lots of percussion, Piano, real drums and a string quartet… not one machine in sight! It would be great for me to see sE getting involved and doing features about how Jazz artists use their mics in the recording process; selection, application and results… for instance, I use an sE Ribbon mic on my drum overheads as I've found it creates a really 'warm' sound when mixed with more directional mics, and gives a nice sheen to the cymbals at the same time"

Actually, sE Electronics are about to launch a new artist education program in co-operation with some of the top names in the music industry to do exactly that… the idea is to give end-users real insight into, and tips on, the recording process. We believe its not helpful to tell people 'do this, this and this and you'll have a great guitar sound every time' because music should be all about creativity, in playing, recording and producing… so hearing how professional producers, engineers and artists have used mics to achieve certain sounds will, we hope, inspire others to try out new and different things on their own recordings.

So, if you had to sum up sE in a few words, what would you say?

"I've compared my sE mics to 'classics' which are three or four times the price and found them to easily stand up to and better those 'old-school' mic brands… sE mics are true modern day classics… they're for people who care about music"

Morgan Agren

Thu, 02 Jun 2011 00:00:00 +0100

sE Endorsee: Morgan Ågren
Occupation: Grammy award-winning drummer to the stars
Artists: Steve Vai, Frank Zappa, Bill Laswell and many more
Mics/gear: Gemini II, 4400a pair, T2 and RNR1

Summary: Drumming legend Morgan Ågren wanted the best recording set-up for his huge drum kit so chose sE mics for this mighty challenge…

Grammy award-winning drummer Morgan Ågren has been playing alongside some of the biggest stars in music for the best part of 30 years. It doesn't get much better than having Bill Bruford saying you have 'remarkable technical ability and playing skills' and Steve Vai describing you as having 'an extraordinary amount of talent', but these are just a couple of the plaudits heaped upon Ågren.

He has played across the globe with everyone from the aforementioned Steve Vai to Frank Zappa and, more recently, he recorded with the legendary musician and producer Bill Laswell as well as starting his own band Batterie Deluxe. Awards include Grammys on both sides of the Atlantic right up to last year's top spot in a Modern Drummer magazine reader poll.

"My drum set is huge," he says of his recording set-up. "There are three bass drums and lots of other stuff. The drum kit always needs to be mic'd and ready for recording…"

Which means Morgan's choice of mics for this kit was always going to be a key decision, but actually it turned out to be an easy one…

"I thought it would be an on-going process," says Morgan, "but after trying the sE microphones I soon stopped looking! When I saw them for the first time I could almost see that they sounded good. But the first thing I did was test the sound in my studio, so I put the sE mics up against my old mics and in many cases they sounded so much better that I could not believe it!"

"For overheads I found that the sE4400 was clear and clean but not too sharp," he continues, "and also never even close to distorting! Cymbals can be hard to record. They tend to eat up a lot, and they can sometimes sound hard, but my cymbals don't sound hard as the 4400 is the best sounding overhead mic I've tried in a long time. I was instantly happy with not only the way the cymbals sound but also the rest of the kit. But it only sounded so good with the 4400s as the overheads - believe me, I compared them with some other mics and they won the game every time!"

Morgan combines his two sE4400 with two Gemini II that he uses as room mics.

"I'd normally go for more mics just to get more flexibility," he explains, "but with just these four mics I've already got a great set-up and I'd recommend this combination to anyone wanting to record a great kit sound."

Morgan is now experimenting with the sE T2 for his kick drums ("I added the T2 in front of my bass drums to get some attack and a closer sound") and also his brand new RNR1 which is offering him a lot of sonic flexibility - "I can really vary the sound I want with that one."

It is this flexibility and the sound of his new mic set up that Morgan concludes has completely won him over…

"They have given me so many more options as well as a better sound," Morgan says. "Every time I go into my studio I only have to look at those Gemini II mics to feel good. I hear a sound in my head and I just know that one of these mics will make it happen when I record. I just can't wait to start my new recording project Batterie Deluxe with them. It will be lots of drums, hypnotic beats, aggressive compression and big sounds. It will make the sE mics sweat but I'm sure they will handle it!"

Darren Sell

Wed, 20 Apr 2011 00:00:00 +0100

Darren Sell has been a professional musician, recording and mix engineer, composer and arranger, and has worked with some of the top acts in the world. His career is nothing if not varied, but he always turns to his Gemini II when there's an important vocal job to do…

Summary:

sE Endorsee: Darren Sell

Profession: Professional Musician, Engineer and Producer.

Artists: One World; Gary Moore, Steve Winwood, Brian Wilson, Robin Gibb, Boy George, Bill Wyman etc…

Mics/gear: Gemini II

Key quote: "Artists that have sold millions of records and have sung into all the "classic" mics all loved the Gemini."

"I grew up living next door to the record producer Tim Palmer (City Beat, Beggars Banquet, XL Recordings), he was always introducing me to new music from the latest Def Jam release to early Beatles recordings. By chance he had to pop in to work one day I tagged along and was introduced to the recording studio, I was fascinated by the way that people and machines in this environment created music; I was immediately hooked and so the journey began."

Darren first studied as a musician in London, Performing Arts, Language of Music, and Music Technology then over the next decade played in the UK, Europe, Dubai, New York, Nashville & Philadelphia.

About 10 years into his journey as a professional musician Darren rediscovered the world of recording, and has since programmed, arranged, recorded, performed and been a musical director for various production and record companies including EMI & Rosette records. As well as working on the BBC Radio 2 series 'The Record Producers' Darren has worked with a host of household names…

"I've had the privilege of working with many great artists including One World, Gary Moore, Steve Winwood, Russel Watson, Brian Wilson, Robin Gibb, Boy George, and Bill Wyman to name a few, during a period in my career spent working alongside producer Steve Levine."

Darren has since relocated to Australia, where he now works in The Orchard Studios, a private studio on the coast of SA.

"With music, understanding the 'language' is one side of it, but the experience you achieve learning, playing other peoples music, pulling songs apart, teaches and prepares you how to build your own. With audio, study can help with the physics and the math, but none of it compares to what I've leant being mentored by a producer with some of the best ears in the business, not just on a technical level, but also Steve knows how to get the best performances out of people and knows through his active listening when he's got that elusive perfect take."

Darren runs a MacPro using Logic, UAD 2, and Waves SSL through an Allen & Heath console. He monitors through Genelec 8040's, uses Mackie 1232's for the extended bass, and has a pair of Mackie HR824's as well.

"I have kept a few keyboards along the way, Yamaha, Korg, but I'm doing more stuff in the box, I use Arturia. Because I'm swapping tracks and projects a lot of the time, we need to recall everything with the song files, it's just easier to use the hardware as controllers. We also have access to a great collection of guitars from a very old Strat to modern day Martins."

Darren's sE Gemini II, which goes through a TLA Ivory pre-amp/channel strip, forms the front end to his recording chain and has pride of place in his mic collection.

"Originally Steve Levine introduced me to the Gemini 1. He's got a great collection of mics, but the Gemini works so well recording pretty much everyone's vocals that Steve used to use this as his 'go to' vocal mic... so, of course, I got the Gemini II for myself! Artists that have sold millions of records and have sung into all the "classic" mics all loved the Gemini."

"I really love the Gemini, I've worked with singers that bring their own mics that they know and love to sessions, but I encourage them try out the Gemini and that's that; no contest! In fact one singer made me set up his favourite mic and the Gemini, he then recorded with both and made me do blind tests on which one I liked the most, I picked the Gemini, then I made him do the same, and guess what… the Gemini got the gig just like it always does."

Most recently 'Naturally 7', who are supporting Michael Buble on his world tour came through the doors of the studio, with their engineer James Caran. All the guys loved the Gemini, and we are talking very different vocalists here, with a whole range of varied harmonic content. At one point the Gemini was even recording human beat-box, but it more than stood up to the test."

With all the use Darren's Gemini gets, and with the kind of clients that demand the best sound and 100% totally reliable gear (or else…!), its not only the way the mics sound that wins so many people over…

"It's very important that the sE mics are built so well" continues Darren, "they get used a lot and need to be robust. A lot of big brand, mass produced mics, just aren't built the old-school way now; you know, the way Neumann built mics. sE build all their mics, and their capsules by hand, and it shows, both in the performance and in the knocks they can take when being constantly used in a professional environment."

"The lockable arm on the cradle mounts sE build is a nice touch too. I'm forever changing the angle for different singers, so they need to hold solid without the usual 'droop' you get with other mounts… and they do!"

So what of the future…?

"I'm producing a band of brothers signed to Frogs Head records, we've already tracked some vocals with the Gemini 2, and I'm looking forward to doing some stereo work with the Gemini 3 as well. We have guitars to track and more interestingly some drum overdubs, can't wait to see what the sE mics can handle there!"

James Ishmaev - Young - on the VR ribbon series award from PAR

Tue, 15 Mar 2011 00:00:00 +0000

'We are delighted to have won a Pro Audio Review Excellence Award for the VR1 and VR2 mics… these products represent a huge leap in ribbon mic technology, another pending patent from sE and the culmination of several years of development work under the guidance of sE's CEO Mr Siwei Zou. We are very proud of the recognition this award brings, since it is in the pursuit of bringing innovation to the mass market that will benefit everyone from project studio owners to professionals, something we are very focussed on as a company."

VR1 and VR2 tech: The Voodoo Ribbons from sE are new for 2010 and mark a new era for Ribbon mic technology - until now the only Ribbon mic in the world to perform across 20Hz-20KHz was our own Rupert neve collaboration, the RNR1, crtically acclaimed as the best Ribbon mic in the world. This was achieved using state of the art transformers and a Rupert neve designed circuit board to reveal HF usually absent.

The Voodoo mics however achieve full frequency response using a new mechanical device (patent pending), designed by Siwei Zou, the company CEO. This extraordinary technical acheivment allows the traditional Ribbon capsule to develop and capture frequencies from 20Hz to 20KHz like no other Ribbon on the planet.

The sound is revolutionary; the Voodoo range brings traditional ribbon sound to the project and commercial studio, but extends it to perform as well as most condensers do. The result is superbly detailed and wonderfully open and natural sounding recordings of acoustic instruments and guitar cabs.

Frank Wells; Editor - PAR on the VR1 and VR2 Voodoo Ribbon series from sE

"We, the editorial staff of Pro Audio Review, would like to congratulate sE Electronics on your 2010 PAR Excellence Award. This award is presented to professional audio companies that exhibited a particularly significant new product at the 129th AES Convention in November 2010. PAR Excellence Award-winning products are nominated and selected by a panel of audio engineers, professional end-users, and PAR Contributors with the oversight of PAR's editorial staff. These products are chosen based on their potential to enhance the quality of an audio professional's work. Criteria include innovation in design, performance/value ratio, enhanced features, and performance improvements over previous versions."

Rich Aitken - Video game music producer

Wed, 09 Feb 2011 00:00:00 +0000

sE Endorsee: Rich Aitken

Occupation: Video game music producer

Games: Killzone, Wii Fit, Pokemon, Gran Turismo

Mics: Rupert Neve Ribbon, Gemini II, SE-T2 Titan

Summary: Nimrod Productions' soundtracks have appeared on some of the biggest video games. Many are now recorded using sE mics because they offer "great quality at a price that makes sense in the modern market."

From Killzone to Pokemon, Wii Fit to Gran Turismo Nimrod Productions have helped soundtrack some of the biggest video games ever released. With clients that include Eidos, Nintendo, Sony, Take 2 and Codemasters their recordings have appeared on over 100 million sold games.

"We mainly do soundtrack work in games and movies," says the company's Rich Aitken, "and I've also worked with a lot of bands, big and small, over the years, sometimes on bespoke projects and sometimes just making records."

Since Nimrod started in 2001 they have built up three high quality studios based around Neve and ICON consoles complete with the best outboard gear and mics on the market…

"I have a number of sE mics," says Rich. "I'm using the ribbons a lot for drums which they are great for, plus I have a couple of Geminis which are used as room mics or sometimes as extra ambience mics on guitars. I've done quite a few vocals with them too - sometimes they're just the thing."

"Initially it was on a whim!" he adds explaining his first sE purchase. "They brought out a ribbon at a good price point and I needed a couple. I've recently added the Rupert Neve Ribbon mic to my collection. It's a very serious microphone that delivers something unique. I used it recently for the solo violin recording of the Killzone 3 soundtrack. You may recall that Killzone 2 won an Ivor Novello for best video game soundtrack so competing with our own work has been a major target! The RNR has given me something 'extra' for the new recordings."

Rich has also recently taken delivery of an SE-T2 Titan to add to his mic cupboard. "It's a very transparent microphone," he says. "I use it a lot for ambience recording of guitar amps in our studio room. It looks like the 4400 but is a very different mic. I'd seriously recommend it to anyone looking for something that does 'clean' very well. It's a very 'ruler flat' mic so many may find it useful for capturing what's happening 'in the room'."

Rich has now been using sE mics for a number of years including several high profile outings…

"I did use the sE ribbons on the Liverpool Philharmonic during the Capital of Culture recordings for Surinder Sandhu," he says. "Great recording that one!"

"I find that sE stuff fits in nicely with the very broad range of work I do," Rich concludes, "from recording rock bands, R&B vocals, and artist development, to orchestral works and a lot of voiceovers. We will also be purchasing a couple of sE mics and some Rupert Neve Portico pre-amps for our new voice recording facility in London next year."

As well as the new studio, Nimrod have more video game work planned plus a new record label. More information from http://www.nimrodproductions.com/

Alan Branch Tries Out The Gemini II

Fri, 21 Jan 2011 00:00:00 +0000

Nine Inch Nails, Sinead O'Connor, Depeche Mode, Blur

Alan studied music at Goldsmiths College while supporting himself as an engineer at Topic Records and at the Works Studio. He joined Roundhouse Studio, where his skills as an Engineer and Programmer coupled with his hard work and easy going personality led to a growing demand for his services.

He soon became the chief engineer, responsible for many large studio projects including being part of the famed "On U Sound" crew alongside Adrian Sherwood. Eventually going freelance in 1995, Alan has put together an impressive collection of studio equipment and has worked all around the world, from Cuba, Japan, and Spain to France and the USA, but remains one of London's most in-demand Producer/Mixer Engineers.

When it comes to mic's and experience Alan Branch has worked with a few artists over the years:

Sinead O'Connor, Beverly Knight, Chaka Khan, Ronan Keating, Sade, Bjork, U2, Primal Scream, Blur, Jamiroquai, Alex Parks, Cara Dillion, Damien Dempsey, Juliet Turner, Jacknife Lee, Shola Ama, Fierce, Lighthouse Family, KC & Jojo, Depeche Mode, Eternal, Simply Red, Damage, M People, Herbert Gronemeyer, The Cure, Nine Inch Nails, Living Colour, Michelle Gail, Public Demand, Nu Colours, De La Soul, Soul To Soul, D:Ream, Skindive, Pop Will Eat It Self, Boy George, Shed 7, Aco, Haddaway, Asian Dub Foundation, LSK, The Last Poets, Shane MacGowan , Truce, Junior Delgado, African Head Charge, Bim Sherman, Bedlam Agogo, Dub Syndicate, US3, Matt Bianco + Flamenco Blues Band, Akabu, Jose Antonio, Atari Teenage Riot , Audio Active, Colonial Cousins, Jalal, Little Axe, Pale Saints, The Popes, Revolutionary Dub Warriors and the legendry Doug Wimbush, to name a few.

Alan's most recent project being the completion of a live surround DVD project for Jeff Beck with guests, Eric Clapton, Joss Stone & Imogen Heap when we caught up with him to get his perspective of mic's and his thoughts on the Gemini II.

"Ok let me start by saying a few things about mic's and how I hear them, firstly it's the number one hardware in the recording chain, no matter what cable, audio interface, computer or recording device without this all important front line component being right for the recording job and in the right place then no amount of plugins are going to save the recording and make it as good as what it can be with a well built quality mic."

"Secondly, trying a few mic's will bring different result's for singers, guitars, strings, drums etc the point being there is no perfect mic and experimentation is important, as each mic has a character and finding one that fit's a voice perfectly is key, of course if you can find a mic that's versatile enough to do a great job with different singers and instruments then it makes life a lot easier. So when I got the chance to try the Gemini II I was really excited as I am slowly becoming a real sE fan, I was bowled over by the clever design and quality of the GM10 and have recommended the Z5600a II so many times to artists wanting quality from a small budget, all of them feeding back how much a difference it made to their performance. It's not often you find a manufacturer living up to it's hype or having spent real attention to the R&D of a product."

"I got the Gemini at the same as another high quality German mic costing over three times as much turned up for a review I was doing, so it was going to have some tough competition, I know they say first impression's count for a lot and to make it fair I asked other opinion's before I said mine and almost 100% said they preferred the Gemini, to make it tougher we put up 3 mic's and recorded a vocal performance with all three then did a blind test and it was quite startling the difference, the flat polar response with the high end lift was obvious, the warmth and character of the valve output was tremendous, but has a lovely hump in the top end to produce the air in the sound without over emphasizing it like some of the other mic's, to soften it we tried off axis which works really well with no noticeable coloration of sound, fantastic stuff."

Gil Norton chooses sE

Fri, 05 Nov 2010 00:00:00 +0000

Gil Norton's production credits read like a who's who in the world of music and he recently won a Grammy for the Foo Fighters album Echoes, Silence, Patience And Grace. After a quarter of a century producing the best, this man knows his gear, and of the sE range he says: "a great range and a mic to suit every occasion…"

Summary:

sE Endorsee: Gil Norton

Profession: Producer

Artists: Foo Fighters, Counting Crows, Pixies, Terrorvision, Echo and the Bunnymen, Feeder etc…

Mics/gear: 4400a, Gemini II, Titan and Reflexion Filter

Key quote: "I can't remember a single session over the last 5 years on which I haven't used an SE mic…"

"I never intended to be a record producer!" says Gil Norton looking back at a quarter century of doing just that, and doing it with some of the biggest names in the business. "I

started engineering around 1980 at Amazon, an 8-track studio in Liverpool. I was working with various local bands producing demos - there were loads around Liverpool at the time."

One such band were Echo And The Bunnymen with whom Gil got his first big break working on the album Ocean Rain. "That was really when I realized what I wanted to do," he says. "I started working with 4AD, some US bands and Throwing Muses which led to the Pixies and eventually the Foo Fighters who were big Pixies fans. When Dave Grohl was looking for a producer he thought of me and we had a meeting and that was it."

That meeting eventually led to a Grammy at this year's awards when the Foos picked up Best Rock Album for the Norton produced Echoes, Silence, Patience and Grace…

"I had a fantastic time," says Gil looking back at the ceremony. "I was in the third row from the front with George Martin at the end of the row and Yoko Ono in front! I talked to Dave and asked what he thought about us winning and he said 'I don't think so'. But then we did! I got up on stage with the band which was nice as well."

Gil discovered the sE range by way of his engineer, Adrian Bushby, and now uses the Reflexion Filter, Gemini, Titan and 4400a mics.

"I really like them," he says of the range. "I use the Gemini as an ambient room mic, maybe put it in front of the kick. The Titan I use for bass as it can take a large amount of signal. I also used it with Gomez as Ian Bell has a really big voice and it took it really well."

"I used sE ribbons with the Foos. Other ribbons tend to lose it in the higher frequencies but the sE's handle it perfectly. The whole sE range is great. They are well-crafted microphones - simple, good, clean and affordable. Within the range you can cover everything - there's a mic that suits any need. They are also really durable which is good."

"In fact I can't remember a single session over the last 5 years on which I haven't used an SE mic…

I've also found the 4400 to be a hugely versatile mic - it's great for acoustic instruments, and I especially like it on drums and percussion. Its hyper-cardioid pattern is extremely useful on toms and snare as it controls cymbal spillage really well and delivers the great punch and tone"

Gil is also a fan of the Reflexion Filter... "It is a good one for me," he says. "I thought it was a great idea. We were doing the Counting Crows at Avatar Studios in New York and we tried to do the vocals live in a little room but we were getting reflections off the glass making it sound boxy. I had a Reflexion Filter sent out and it really helped take the boxiness off the vocal."

Gil has a busy few months ahead with a new project taking him to LA until late 2010. But while the future maybe busy, how does he look back at 25 years of top-flight production?

"I've worked with lots of great bands they all mean different things at different times," says Gil. "The Pixies were a highlight and Throwing Muses - that whole 4AD period was special. But the last 2 years have been just incredible having Counting Crows and Foos come back after ten years. I'm just enjoying it and looking forward to the future."

Johnny McDaid - Songwriter, producer and multi-instrumentalist

Mon, 25 Oct 2010 00:00:00 +0100

sE Endorsee: Johnny McDaid

Occupation: Songwriter, producer and multi-instrumentalist

Artists: Snow Patrol, Paul Van Dyk, Gary Go and many more

Mics: Gemini, 4400a, GM-10 plus Reflexion Filter and Stand 1

Summary: Johnny McDaid is a writer and producer working with some of the biggest talents around including Snow Patrol, Paul Van Dyk and Gary Go. Every day brings a different recording challenge so it's a good job he is armed with a whole range of sE gear…

Johnny McDaid must smile whenever he steps into his bespoke studio because this man has one of the best jobs in music. One day he's remixing U2, the next he can be playing live with the Snow Patrol, and the next he could be writing with dance megastar Paul Van Dyk (on huge anthems like Time Of Our Lives and Home) or recording the current darling of the music industry, Gary Go - "he's infectiously talented - a joy to work with," notes Johnny.

Johnny used to be in the band Vega4 but since signing to Snow Patrol's Polar Patrol publishing company, he has been establishing himself as one of the UK's foremost songwriters and building a recording studio packed to the rafters with the best gear.

"A couple of friends of mine had sE mics a while back," he says, "and when I came to choose mics for myself, one of the first on the list was the Gemini. As soon as I plugged that thing in everything seemed to come to life. It has a huge sound. I use it for very specific vocalist sounds when I want a fat, warm sound. It has this belly and you can hear and feel the valves in it."

But while the Gemini has the sound, Johnny's GM-10 is his songwriter choice…

"When you're writing you are constantly grabbing things like an acoustic guitar to put an idea down but you're moving around so much. The GM-10 is brilliant, and one of the best inventions for the singer/songwriter. You clamp it on there - it straps to anything - and it stays in the same place no matter where you move. I really do use it every day. I'll put it on there even if I'm using other mics - it's a great safety track to have as well as a really great sounding microphone."

Then there's the sE 4400a… "Such an amazingly versatile mic - you can put it in front of pretty much anything; a Vox, a Marshall, or it will perform just as well as picking up every nuance of an acoustic guitar. It's also perfect for female vocals."

Finally, Johnny is a fan of the Reflexion Filter and sE's professional mic stand, the Stand 1…

"That mic stand is great!" he says. "I wanted something like the old Abbey Road mic stand and this is the only thing I can think of that allows you to strap big heavy stuff to it without tipping over. I use the RF for a variety of things. With the Snow Patrol John Martyn track I just worked on, I used it on a glockenspiel and it helped get this real swell of tone - it was really cool actually."

He continues: "I also did a performance with Paul Van Dyk in Germany with a massive symphony orchestra doing some of my songs and there were RFs everywhere!"

Johnny is currently working on tracks for the new Gary Go album, Paul Van Dyk, album and Example album among others.

Producer Troy Antunes

Thu, 19 Aug 2010 00:00:00 +0100

sE Endorsee: Troy Antunes

Occupation: Producer

Artists: Justin Timberlake, NSYNC, Backstreet Boys, Britney Spears

Mics: RNR1, Gemini II, 4400a, T2, sE4

Summary: Producer and musician to the stars Troy Antunes uses pretty much the entire sE mic range when recording the biggest names in music

Troy Antunes' many talents - and we mean many - have seen him work with quite simply the biggest names in the business including Justin Timberlake, Britney Spears, NSYNC, Backsteet Boys and Hip Hop legend DMX. Troy, aka FunkySilohuette, is a producer, musical director and vocal coach and has also appeared on countless TV shows: from David Letterman to judging on Louis Walsh's You're A Star!

With so much experience working with so many big names you'd expect him to know a thing or two about recording gear and, after setting up a new London studio, he has equipped it with just about every sE mic you can get.

"I set up the studio very much in the way I look at myself as a musician," he says. "It's very flexible and can cater to just about any style of music. We've worked on genres ranging from the very Pop of Simon Webb and Duncan James to the heavy Hip Hop of DMX to Rock and even Classical. Every piece of gear has to be able to accommodate the needs of any type of music."

"We're huge fans of the sE line of products," he continues. "We're using the Gemini for all of our lead vocals and the Isis for all of our background vocals. I also use the Gemini for all of my guitar needs as it has the warmest sound but can still be aggressive when used properly. I can get a beefy, edgy, distorted quality or a warm, clean guitar sound when needed."

"We've also just added two RNR1s to our treasure chest. I was really interested to see what they were all about and the minute we used them as overheads on a drum session we did I was floored. They are, in a word, impressive! We also use an sE4 for hi-hat and bottom snare, and the sE 4400a stereo pair and T2 for toms or top snare.

"Recently while recording a Rock project I used a Gemini and Isis as ambient mics in our hallway outside the booth for the drums and the stereo mix I got was Hot! It brought crazy life to an already great drum sound."

That's a lot of sE mics doing a lot of work, but Troy is adamant that the quality shines through across the range and has ultimately helped his career…

"I was a bit sceptical at first," he recalls, "but gave the Gemini and Isis a try and from the minute I recorded the first vocals I was hooked. I always pick gear that is both utilitarian and quality from the moment you plug it in. I hate turning knobs and adding crap in the chain. I love just plugging something in and it just sounding good from jump street. I know that, no matter what, my sE mics are going to sound great and in the end the production will benefit from that."

"sE has actually helped me to evolve as a producer. Having good gear allows a producer to be imaginative while working on a project. I'm not hindered by any shortcomings of my mics 'cause, to be honest, there are none."

Troy is currently working with Rock artist Mairead and the Italian R&B star Vivianna.

Troy's top recording tips…

"Always allow the artist or Musician to be themselves while recording. Remember you picked them to play it for a reason. Give them the part, guide them closer to the vibe you need, then sit back and watch them evolve it to something great."

"Never be afraid to refer to past great production. Listen, there hasn't been an original thought since man hit this planet so if you're going after a vibe then don't be afraid to check out the cats who may have inadvertently lead you to the style or vibe your going after."

"Always use utilitarian and quality gear in your studio. Creativity and imagination in a production is never hindered by these two standards. These two standards leave you with no boundaries to worry about 'cause you know your gear can do anything you need it to do."

Gareth Young

Mon, 16 Aug 2010 00:00:00 +0100

Summary: Producer and songwriter Gareth Young prefers the sound of his sE mics over his far more expensive options to record some of the biggest vocalists out there…

Sugababes, All Saints, Ronan Keating, you name them, the chances are Gareth Young has worked with them. Gareth has been recording a producing since the tender age of 15 and has certainly carved out a successful career since then…

"I had my first deal at 17," he says, "and have been songwriting and producing ever since. I've worked with artists like Sugababes, Dannii Minogue, Lucie Silvas and Appleton. My main studio is near Truro in Cornwall with a programming room in London."

Gareth has kitted out his studio with a special edition sE Gemini III dual tube, multi pattern microphone and two sE RNR1 active ribbon after recommendations from other engineers including John Cornfield from Sawmills Studios.

"I am using the Gemini III as my main vocal mike now alongside a mic that costs four times as much and I prefer the Gemini!" he reveals. "The RNR1s are being used mainly on electric guitars and as a second pair of overheads for kit miking."

"Since receiving the microphones the Gemini III has become my vocal microphone of choice over my other two mics which cost up to £4k each! I now use it mainly for female vocals and the RNR1s are amazing on guitars."

Finally Gareth concludes: "The switchable polar patterns on the Gemini III really help with day to day recording and the mic is generally on the pleasant side of bright. I also used it as a room overhead for drums which was also successful- so much so that I will be getting another one for a stereo pair!"

"The RNR1 has one brilliant feature: its sound. In all my days recording I haven't come across a better microphone for electric guitar amp recording. It's really warm and gives the body needed without any EQ - a great mic!"

Gareth is currently in the studio producing the Metal band Kernuyck and working on two songs for X-Factor finalist Lucy Jones.

Andy Bradfield on using sE mics

Tue, 20 Jul 2010 00:00:00 +0100

Breeze through the pages of Andy Bradfield's musical CV and you'd be forgiven for thinking you'd accidentally stumbled upon a Who's Who of the pop world. Names like David Bowie, Elbow, David Gray, Salt n Pepa, Pet Shop Boys, Tom Jones, Kylie, Eternal, Spice Girls and Boyzone leap out at you through the reams and reams of acts that didn't quite make the 'superstar' list.

Away from the pop charts Andy's also notched up a similarly large canon of work, mixing tracks for the likes of Future Sound Of London, Beth Orton, Eric Clapton, Marc Almond, Rufus Wainwright… In a career that's thrived over two decades, Andy's scored a handful of Number One records and even a Grammy nomination.

Maybe it's the distinctly traditional approach of coming through the ranks that's given Andy such a good grounding in the fundamentals of mixing great music. Starting off as a tea boy, Andy quickly moved to London's legendary Townhouse and before long was assisting some of the greatest names in the business.

"I worked with many amazing engineers and producers during that time, going freelance as an engineer in the early 90s. That's when I moved into mixing and production."

Andy's studio centres on a Digidesign Icon and Pro Tools set up with lots of outboard. But when it comes to recording, he reaches for his Neve preamps and sE microphones.

"I've been using sE's Gemini in the studio for a couple of years now and I really like it, mainly for vocals and acoustic guitar. It's a really 'big' sounding mic with a great sound. And then recently I picked up the sE RNR1 [Rupert Neve-designed Ribbon mic], which is just amazing. A while back I was recording with an artist who insisted on using an authentic ribbon mic… and it sounded awful. I think the mic was defective. So I put up the RNR1 and it just sounded amazing. It still fitted the 'sound' that was on the other songs, but had a nice presence to it too. I've used it on trumpet, lead vocals and electric guitar… it's very smooth and warm, but also with some great top end presence."

"The reason I bought the sE mics, well… there are a few reasons. They are very good mics, they're also extremely well made, and do precisely what they say they will. These mics just work!"

"It's nice to know that I have great mics on hand whenever I want to record, and the Reflexion Filter makes a lot of difference in small recording spaces that are more and more the norm these days."

Andrew Small chooses sE Electronics T2 microphone

Tue, 29 Jun 2010 00:00:00 +0100

Already regarded as one of the best session drummers in the UK, Andrew Small's CV makes for a star-studded read. Massive Attack, Courtney Pine, Il Divo, Des'ree, Moloko, Jamelia… he's even hit the road as Musical Director on several of Kylie Minogue's globe-spanning tours.

Despite being in demand for his eclectic style and broad love of music, Andrew is also known not just as a player but also as a producer. Consequently he's always on the look out for equipment that will capture the essence of his sound in the studio, no matter what the project.

And in his quest to capture the perfect kick drum, Andrew recently made the sE Electronics' T2 microphone his first choice…

"I've tried out a lot of mics over the years, and not many of them are capable of capturing the full power of a kick drum. I've just started using the T2 on the kick drum in my studio and it's totally transformed the sound. It captures loads of weight and warmth while giving the impression that the drums are actually in a much larger live room. In quite a short time I've come to rely on the T2 to capture loads of the sub-bass from my kick drum, but without sacrificing any definition. In fact, the combination of low frequencies and overall clarity you get from this mic is very impressive."

"Considering it comes from a relatively new line of products, the sE T2 is well built, and as a condenser mic has performed really well in coping with the punishment a kick drum dishes out."

"Since I started using the T2 I've had a lot of positive feedback from studio clients about the drum sound I'm able to achieve. sE's T2 is now an essential part of my setup, and I'm pretty confident it will remain an integral part of my microphone arsenal for some time to come."

Strictly sE

Sat, 20 Mar 2010 00:00:00 +0000

Dan McGrath and Josh Phillips have scored some of the biggest TV themes out there including Strictly Come Dancing, I'd Do Anything and Any Dream Will Do. Now they've just scored big time with sE's Reflexion Filter. "It's phenomenal…", they say, simple as that…

Dan McGrath and Josh Philips have both been involved in the music business for many years albeit on different sides of the fence. Dan produced Chris Evans' radio shows from his time on Radio 1 to the infamous Virgin Radio stint. Josh, on the other hand, has played in many bands from Big Country to his current role as keyboard player with Procol Harum. Both had successfully produced music for TV in their own right, but after meeting nearly a decade ago they realized that their combined skills could pay dividends…

"We landed Strictly Come Dancing soon after we got together which is the most infamous bit of music we've done as a partnership," says Dan. "We pitched for it, landed it and went down the pub and got drunk as we realized it was quite a good show to get!"

Since then the duo have produced over 140 TV themes, covering a myriad of light entertainment, game shows and high profile, prime-time series, such as BBC's run of Andrew Lloyd Webber talent shows, (Maria, Any Dream will do, and I'd Do Anything). They both use sE's award-winning Reflexion Filter for a variety of tasks as Dan details:

"We actually used it yesterday on a Channel 4 celebrity tribute program.

A celebrity is at a table, and friends and other celebrities take the mick out of them. We've just done a spoof song for one of the celebrity guests, who's in a very high profile talent show. We did a Westlife type ballad and used the Reflexion Filter for that."

"It's one of those bits of kit you see around that makes perfect sense," he continues. "We've sound-proofed our vocal booth as much as possible but it's still fairly boomy. We could have spent a huge amount sorting it out but got the Reflexion Filter instead and it's phenomenal. Just hold it up to your face without a mic and talk into it and you realize why."

Josh adds: "I have one at home as well. I just formed another band with Jim Cregan from Rod Stewart's band and Cockney Rebel. He was pretty stunned by it - the difference when you put a pair of cans on, walk up to it and the room disappears is incredible. We also used it on some new Procol stuff for their new album that we've been demoing and it was fantastic, unbelievable… We were down at Gary Brooker's [Procol Harum] studio and he was amazed by it."

"And when we were rehearsing with Procol a couple of years ago," continues Josh, " we did some things with the Danish Radio Orchestra who are so technically advanced and they all had sE Reflexion Filters! It was incredible, all with their own feeds running!"

Josh and Dan have just completed music for McLaren F1's latest merchandising campaign, and are currently putting the finishing touches to the new Lloyd Webber Wizard Of Oz show (Over the Rainbow) for the BBC. You can find more information including the full and incredible list of shows the duo have composed for here: www.danandjosh.com.

Dan's background

"I trained as a TV sound engineer, cut my teeth mixing The Big Breakfast on Channel 4, met Chris Evans and followed him to the Radio 1 breakfast show. I produced Chris Evans on 1FM & Virgin Radio until 2001. Quite famously in the papers we were then all asked to leave! Evans was a great challenge for 10 years, but I didn't want to do any more radio at the time, so carried on writing music for TV and radio which I had been doing since TFI Friday and The Big Breakfast. I had a lot of contacts in the industry, got a few bits of work like Jonathan Ross' theme, was doing great but wanted to work with someone who would complement my skill set, and was put in contact with Josh."

Josh's background

"I started as a pro musician in 1981. My background was more performance based, recording and live touring. I've played in many bands over the years with acts as divers as heavy metal band Diamond Head to the American disco funk band Heatwave, later joining Big Country, then moving on to almost 10 years as Midge Ure's keyboard player. I've been Procol Harum's (A Whiter Shade Of Pale) Hammond organist for the last six years and we are about to embark on a major US tour in June 2010."

Marco Migliari - insists on the sound of sE

Mon, 15 Feb 2010 00:00:00 +0000

Marco Migliari spent 12 years honing his production skills at Peter Gabriel's legendary Real World Studios. Marco may had some of the greatest equipment available to him whilst helming the world-famous facility as Chief Engineer, but now he's pursuing the freelance life he's using his extensive knowledge of recording, mixing and mastering to keep his studio compact and straightforward.

Years of experience both using and building gear has galvanised Marco's ability to focus on the essential gear needed to move quickly and capture great recordings. Central to Marco's operation is a small Pro Tools HD rig with an even smaller collection of mics and preamps…

"when it comes to microphones, I use a stereo pair of sE 4400a [studio condenser]s and a single sE T2 [hybrid percussion] mic, as well as a Telefunken AK47 and a Shure SM58."

But whatever the mic, Marco takes the signals through either a custom Sutera Quadrapre 4-channel mic amp or a UA1176 Anniversary Edition - "arguably one of the best compressors for vocals ever made."

"I use my sE4400a stereo pair all the time. The incredible flexibility of these mics makes them suitable for almost any situation. I also like my T2 - it's a killer mic for electric guitar combos. The extra sheen of the titanium capsule can really help to rescue some lost top end, and it works well on drums, too."

"But my pair of sE4400a mics is probably one of the best deals on the market. And I just love all the options. Having -10dB and -20dB pad is vital for any studio work, the choice of four polar patterns is equally essential and the roll-off filter is also useful. I mean, this is basic stuff, but I'm often surprised that many so-called pro audio mics don't even have a filter!"

"So far I've had them as stereo drum overheads, stereo room mics, percussion spots, and even as a close pair on the piano. Combined with my infallible Sutera preamp, they always provide crystal-clear sound, extended and accurate bottom end and a detailed top end - detailed but never hyped. And I've only had them for a few weeks! Can't wait to try them on more acoustic instruments and on vocals, too."

"I also own an sE Stand1, which is nice and sturdy, as well as an sE pop shield. I use both all the time for vocal takes in my studio."

"A word of praise should also go to sE and Rupert Neve for their RNR1 [Rupert Neve-designed ribbon] mic, which I love. I've tried quite a few ribbon mics over the years, and I can say that this is the best sounding ribbon mic I've ever used. I used it on a brass section recently with some trimming courtesy of the Reflexion Filter, and I simply got the best sound I've heard in a long time."

"sE gear has changed the way I work. These microphones are helpful because they're easy to use, they come with a sturdy case and all the necessary attachments."

"These days I'm worrying less about getting a great close-up sound, and more about capturing the air around it. Mics with higher sensitivity and - crucially - phase stability can help a great deal to create tridimensional soundscapes. In a world where a lot of recordings are not done in the studio anymore, capturing the character and imperfections of the environment has become as important as the music if you want the end product to stand out from the crowd of computer-generated music."

"But ultimately sE mics do just do what they're supposed to do - faithfully capture a performance"

***box***

From 2009 into 2010…

The last 12 months have seen Marco working on a diverse range of projects - be it producing, recording, mixing and mastered the latest album for UK jazz trio The Swiss, recorded, mixed and mastered Irish folk band Guidewires' new album, mastered Clare Teal's live album 'Live at Ebenezer's Chapel', mixed Dutch artist Aestrid's forthcoming album, produced and recorded both UK band Nylo and Italian band Fonderia, an experimental 5-piece from Rome.

"2010 will hopefully see the release of all my productions from last year, which I'm currently mixing. I have another folk record in the pipeline, shortly followed by more pop / rock orientated projects. Hopefully I will also resume some of my writing, which I shamefully neglected to allocate more time to music production. Lastly, I'd love to finish off some more technical projects I started years ago. I do have a passion for self-built gear and there are a couple of things I'd love to get finished in time for my next recording session."

sE at the Grammys with Maxwell

Wed, 10 Feb 2010 00:00:00 +0000

As R&B superstar Maxwell's live engineer, Wayne Trevisani knows how to get the best sound in any situation. During Maxwell's recent Grammys performance Trevisani needed the best equipment and turned to sE…

Wayne Trevisani is R&B superstar Maxwell's live engineer, a position attained after no less than 25 years of working with some of the biggest names in music, from Dolly Parton to Iggy Pop, from Ted Nugent to Julio Iglesias.

As well as being at the top of his game in live sound Trevisani has also experienced pretty much every other aspect of audio engineering including studio recording and mixing, TV, movie and theatrical sound designing. He owns a mixing/post production facility just outside of Philadelphia which contains, as he describes "a Digidesign Venue /DShow, HDX2 (a gazzilion plug-ins) attached to Protools HD3 run by Mac Pro."

For Maxwell's recent Grammys performance Trevisani turned to sE to get the perfect live sound. He already employs the sE4 mic and Reflexion Filter Pro but this time it was the Rupert Neve/sE RNR1 active ribbon mic that he used.

"Well, not being totally name driven," Wayne says, "I have to admit that with Rupert Neve's name attached to it, it did catch my eye - or ear - and I couldn't be happier with the outcome."

"Originally when we were putting together the recording rig for the last Maxwell arena tour we (Producer Hod David and I) wanted to use a ribbon mic for the audience," explains Wayne. "It's such an important part of recording in a live environment that we didn't want to skimp on it. I had heard about this new sE mic that Rupert Neve was involved in and thought I would try it out. It was awesome to say the least. One colleague mentioned that listening to the RNR1 was not like listening to a mic, it was like being there! It achieved exactly what I needed for this recording. I truly was a member of the audience, no additional coloring added, and the high end was smooth as can be."

"I then decided to add it as a drum overhead," Trevisani continues, "which completed a natural overhead sound I was looking for when mic-ing Chris Dave's [Maxwell's drummer] drum kit. We were looking for a warm natural 'old style' analog drum kit with a lot of punch. This mic gave that to me and more. The sound of the RNR1 shone. It not only translated the cymbals naturally but completed the entire kit's sound. Ever listen to an old R&B record from the 60's? That is where we were going…"

"I have only just gotten the sE4 and tried it out on the hi-hat which worked great, but I plan on playing with it in the studio and seeing what else it can do. I am so happy to add it and the RNR1 to my arsenal and can't wait to see what sE has for me in the future."

As for the future Wayne is continuing to tour with Maxwell. "I also have a 'seasonal' LP in the offing that will be recorded during the course of this year to be released in December with some of the coolest musicians on the planet. And I am excited about getting the RNR1 in front of my favorite horn section - that's all I can say for now!"

Wayne Trevisani's top recording tip

"Three things: Source, source and source. Get the source right and everything else falls into place. To this day I still make sure the guitar mic is in the spot I like, kick mic, drums tuned properly, and so on…"

sE Reflexion Filter and PJ Harvey live

Tue, 29 Sep 2009 00:00:00 +0100

PJ Harvey's engineer, Head, uses the sE Reflexion Filter to obtain the best sound in a tricky live scenario…

We've seen countless stories of how sE's Reflexion Filter has helped vocalists around the world get the perfect take. Now we're starting to hear how its groundbreaking design can be used in a variety of other situations. Hear, PJ Harvey's engineer uses a Reflexion Filter to help him get the perfect live sound…

Howard Bullivant, aka Head, got in to recording out of frustration in the 1980s. "Studios were really expensive," he recalls, "and quite often the finished piece of music didn't sound as I imagined it should. There was too much technology involved, and it sounded like machines and not people."

Over the years his quest for the perfect sound has led him to create own his own bespoke studio, and to work with many of the biggest names in the business including Yoko Ono, Thom Yorke, Massive Attack, Elizabeth Fraser, Marianne Faithfull, Mick Harvey, Nick Cave, PJ Harvey, Paul Weller, Pete Doherty and Therapy?.

"All one can do is react to what the musicians want to do," he notes of these high profile outings. "The better musicians always inspire you to push yourself to new limits."

Head has now experienced many studio set-ups but prefers the subtle nuances of tape over digital and says: "Sonically it's just better, and it's harder to hide the warts. If you play like shit you will sound like shit but, on the other hand, tape can capture the simple energy or beauty of a performance like nothing else."

Also helping him capture stunning performances is an sE Electronics Reflexion Filter which he has been using live with PJ Harvey…

"I had been told about the Reflexion Filters by some musician friends who rated them very highly," he says. "I have been using them on the piano mics for some PJ Harvey solo shows. She has been playing an upright piano in a live situation and for front of house and monitors this can be tricky. In these shows Polly plays quietly and the mics need all the help they can get to reject feedback. The Reflexion Filters gave us those few extra dBs to make a positive difference. They made it possible to concentrate on doing a good mix rather than constantly trying to beat the feedback."

Head has just started mixing an artist called Hayley Willis in Spiral Studio in Cornwall and he will shortly be recording vocals and mixing a Black Frances (Frank Black) Album at RAK Studio in London.

sE mic used to capture voice of Desmond Tutu for U2s massive world tour

Mon, 20 Jul 2009 00:00:00 +0100

Love them or hate them, everyone's got an opinion when it comes to superstar rockers U2. Whatever your opinion, no one can deny that there one if the biggest acts on the planet right now. And with 12 studio albums and some of the biggest tours the world has ever seen already in the can, there's just no sign of this Irish four-piece slowing down.

June saw them embark on their most incredible looking tour yet - the U2 360˚ Tour. Not only have they designed and constructed a ground-breaking set for the 44-date (and growing!) live extravaganza, they've also enlisted some of the planet's biggest names to promote global issues along the way - including Nobel Peace Prize winner Desmond Tutu.

Renowned engineer and producer Alan Branch was charged with capturing this momentous spoken-word recording. Alan's already racked up credits with the likes of Blur, Jeff Beck, Chaka Khan, Depeche Mode… so which mic would be suitable for one of the most important recordings he's ever undertaken?

"That a very good question - and a question I asked myself when I got the call to organise the audio recording of one of the world's most famous clergymen by one of the worlds most famous bands!"

"The request was explicit - the reproduction of the recorded audio had to be of the utmost quality. U2 were about to embark on their biggest tour to date with a new and unique 360 degree stage crowned by huge video screens. Desmond's cameo speech would tell of the huge impact that aids and malaria drugs have had since U2 helped launch an aids campaign on their '05/'06 Vertigo tour."

"Add to this that we would only have Desmond for a few minutes, so the recording had to be faultless. So apart from the obvious tactic of using several mics at once as a failsafe measure, the Number One mic I would rely on was sE's Gemini II."

"Needless to say the recording went very well and Desmond Tutu is one of the kindest gentlemen I have ever met."

"I've already had the chance to test the Gemini II alongside many other mics, and I have to say that it's my 'go-to' workhorse microphone. It has never let me down, always capturing a great quality performance, and even inspiring vocalists to sing their hearts out."

"The video producer for the U2 show was over the moon with the quality of the recording. The Gemini II drew more than a few questions from the film crew, who weren't used to seeing large studio mics - especially dressed up as it was with the sE Reflexion filter and the chunky sE mic stand I used to minimise noise. Thanks sE - great job!"

Steve Ste Kerry - Front Of House

Mon, 20 Apr 2009 00:00:00 +0100

Front Of House engineer Steve 'Ste' Kerry describes how sE gear helps him out both on the road and in the studio…

Steve 'Ste' Kerry started his career as a front of house engineer while studying in Manchester in 2002. He has since 'slaved away' around the country quickly and is becoming a rising star in the UK FoH engineering scene. He has worked with a large portfolio of acts including Fightstar, My Vitriol and Robots In Disguise. He also runs a recording studio and helps advise at institutions like the Futureworks Media Centre.

Ste uses a wide selection of sE gear - including a Reflexion Filter, sE4 Pair, Gemini and Icis mics - both in the studio and on the road. Initially though it was sE's revolutionary Reflexion Filter that grabbed his attention…

"I used a Reflexion Filter at a friend's studio and was extremely impressed," he says. "I got one for myself and then decided to try out the Gemini and Icis mics and again was very impressed with both. Particularly with the Icis, the price to quality ratio is really astounding - I use it alongside u87's quite happily."

"I take out my sE4s to gigs primarily for overheads but sometimes for other jobs such as percussion - it really depends on the bands," Ste continues. "I have been impressed with all the sE products. The Gemini and the Icis are really versatile in the studio and get used on a lot of things: vocals, as room mics, occasionally on guitars - anything you throw at them they handle fantastically. I have used the Icis, Gemini and sE4s on acoustic guitars and cannot choose between them, they all bring different qualities to the table, all of which I think sound great."

Overall though it is still Ste's first love that stands out - the Reflexion Filter…

"I no longer have to worry as much about where I'm going to record vocals! The size of the Reflexion Filter is an instant winner - such a brilliant product. But overall, the price of the microphones and equipment made by sE is really impressive. It gives more scope to have more mics without having to worry about substituting quality."

Ste has a busy year ahead with lots of tours and festivals booked so expect to see him - and his sE gear - at a gig near you soon…

Mark Tufty Evans - Renown Producer

Fri, 05 Sep 2008 00:00:00 +0100

Looking back through the varied and distinguished career of Mark 'Tufty' Evans, it's clear to see that he's an engineer and producer who's capable of turning his hand to suit almost any artist who books time at his Berkshire-based Wispington Studios.

Since opening back in 2003, both Tufty and Wispington Studios have become firm favourites with those needing the expert ear of an engineer who specialises in the mixing process, expertly fashioning the raw material on the multi-tracks into perfectly crafted stereo mixes.

But way before that Tufty had already racked up some impressive credits, cutting his production teeth as house engineer for Peter-John Vettesse's legendary Area 21 studio. He's worked with a huge list of industry heavyweights and up-and-coming artists alike - the Bee Gees, Heather Small, Joe Cocker and Tina Arena have all benefited from Tufty's mixing prowess. And in the five years since Wispington Studios opened its doors, he's also played host to the likes of Girls Aloud, Beverly Knight, Melanie C, Fluke…

Tufty has earned his reputation in the studio through his ability to cope with anything that's thrown at him, so the gear he uses needs to be able to keep up with the myriad challenges he overcomes daily to further build on the success that's put him in the a-list of mix engineers. So amongst the racks of high-end outboard and software he relies on to get the job done, you'll also find a few sE mics to hand…

"I'm just completing the final mixes of Robin Gibb's new album, and I bet that it's the first time anyone's used an sE mic to record a large group of bagpipes!

I've also just finished recording an LP for a new artist called Arthur Delaney, which called for the recording of a wide range of instruments - sitar, tablas, bodhran, cora, fiddle, acoustic guitars, dhol drums, double bass, acoustic drums… loads of different instruments from around the world, in fact. During the recording I found myself reaching for the Gemini II just as much as my Brauner VM1 when I needed a large capsule condenser - especially for the double bass. When I need a greater amount of detail in the lower-mids, or just that 'thudiness' you need when recording low-frequency percussion… I'm reaching for the Gemini."

But the dual-valve Gemini has also been put to good use for more subtle applications. "While recording drums for a new artist - Ben Montague - at Fisher Lane Farm [Studios, owned by Genesis], I was using the Gemini II to pick up drum ambience in the famous Stone Room. And after an unreasonable amount of compression the staff at the studio were jumping up and down about how the ambience sounded more like Phil Collins than Phil Collins sounded!"

Tufty may be a convert to the way sE's Gemini can ably deal with practically any recording situation that's thrown at it, but he also embraces modern techniques and equipment when the situation demands it. And for the perfect acoustic recording, what could be better than sE's GM10 - the mic that actually clips onto an acoustic guitar to ensure consistent levels to tape, no matter what the talent does.

"Of course, the GM10 is a genius design for a recording engineer, for the obvious reason that it stays right on the sweet spot of an acoustic strung instrument. It's been developed for acoustic guitar, but I'll usually try and strap it to anything that makes a noise these days!"

"I very quickly saw the genius in the design of the GM10. Consequently I don't think I will ever use a pick-up for recording an acoustic guitar again."

For Mark 'Tufty' Evans, please contact:

Fraser Kennedy - fken10353@aol.com

Dan Broad - Moolah Rouge Studios

Mon, 28 Jul 2008 00:00:00 +0100

Dan Broad is based at Moolah Rouge Studios and has worked with everyone from Howie B to the Happy Mondays. He was introduced to the sE range by ex New order bassist Peter Hook. "I was hooked!" he says…

Dan Broad is a producer, engineer and musician based at Stockport's Moolah Rouge studios. To say this man keeps himself busy is the understatement of the year. When he's not recording and mixing the likes of Peter Hook, Badly Drawn Boy, Howie B and Johnny Marr, he finds time to play keyboards and guitar in the Happy Mondays. In whatever discipline he finds himself, he surrounds himself with the finest tools available and has access to the best at Moolah Rouge including a set of sE microphones…

"I have recently started using a variety of sE Mics including the Gemini II, sE4 stereo pair, R1 ribbon and the Titan," he says. "I first discovered the Gemini II when working with Peter Hook. I was lucky enough to try it on a few sessions and then I was hooked. We used it for vocals and as a mono drum ambient mic and to capture bass ambience. I have since used it in all of my studio projects including some very late night sessions with Shaun Ryder. I find the clarity and top end of the Gemini is amazing and it so quiet - you can really notice the lack of noise even on the quietest of sources."

"I have been using my R1s for drum ambience, acoustic guitar and guitar

cabs," he continues. "They are great particularly as they are half the price of similar mics from other companies."

But it's not just the sE mics that Dan is a fan of…

"I have recently started using a Reflexion Filter," he adds, "which works wonders tightening up vocals and providing a good source of isolation in busy recording sessions."

"Overall sE gear is robust, well-packaged in wooden boxes and heavy-duty flight cases," Dan concludes. "It also provides a clarity of sound that is unbeatable at this price point."

Dan will be playing with the Happy Mondays at several summer festivals. He is currently finishing recording Shaun Ryder's vocals for the new Mondays album (using sE mics of course!) and recording a new band called Bells for Rene which he describes as "the best new band I have heard in years!"

Dan's top recording tips…

1. Listen to your clients

2. Don't be afraid to experiment

3. The more time you spend making sure that what you record sounds good in the first place, the less time you will spend trying to fix it later. Be patient!

Engineer Sven Lens

Fri, 25 Jul 2008 00:00:00 +0100

Engineer Sven Lens reveals how Snoop and Nelson's latest collaboration highlighted just how great the sE Gemini mic sounds compared to much more expensive competition…

Sven Lens is one of Holland's leading engineers. He's an expert in Pro Tools, runs his own studio and works freelance in many other facilities across the country. Recently he was involved in an extraordinary recording session involving two international superstars from what you might call very different sides of the street. Rap superstar Snoop Dog and country icon Willie Nelson got together to record the track My Medicine and Sven was engineering the session and able to witness this meeting of very different minds…

"I was asked by Wisseloord Studios, a big commercial studio over here in Holland where I frequently work, to be the engineer for the session," he says. "It went very smoothly. Snoop Dogg and Willie Nelson are both very nice, talented guys, and easy going."

As well as an sE Gemini, the studio had other mics available for the session, but Sven believes that the Gemini easily had the best sound.

"I had a couple of expensive mics from Germany and Latvia plus the sE Gemini," he says. "From the moment my assistant talked through it [the Gemini], I knew it was something special. Actually, it blew both of the other mics away. I can hardly believe that the Gemini sounds so good. Willie Nelson also recorded another track with Snoop, which I actually like better than the one which is out right now, where he used the Gemini to record guitar and vocals, at the same moment, balancing his voice and his guitar. The Gemini was somewhere between his mouth and his guitar. It sounded awesome."

"Actually, thinking about it," Sven continues, "when people sing through the Gemini, it sounds like they are three feet closer to the mic compared to others, which gives you a more modern sound - that's addictive! I actually bought the Gemini I used with Snoop and Willie right after the session, since it sounded so good. It is my first [choice] mic for vocals now, so I don't have to look what the studio has for me, as I always bring my own Gemini!"

Sven is currently in the studio with up and coming Dutch band Terry Bogus and, since we interviewed Sven, we hear he's already used his new Gemini with a certain Nelly Furtado - more on this later!

Sven's top recording tips
1. Have respect for, and listen to what the artist(s) have to say - don't only do your own thing.
2. Try to be as prepared as possible.
3. Try to have a good time!

Ludwig Bouwer and the Soweto Gospel Choir

Mon, 21 Jul 2008 00:00:00 +0100

When Ludwig Bouwer, owner and engineer at One Big Room Studios in South Africa, and the Soweto Gospel Choir were asked to get involved with the Agape Orphanage Project, sE were only too happy to help them out…

After playing keyboards and bass in various bands Ludwig Bouwer converted his love of music and technology into a career, becoming the owner and engineer at One Big Room Studios in Pretoria, South Africa. Nothing could prepare him for his biggest challenge, though, when the producer and two-time Grammy winner Robin Hogarth called him up and asked him to help out with the 'We Are Together' project, a recording and film about a choir at the Agape Orphanage. Suddenly he had to assemble 20 top-notch singers - including members of that choir and of the Soweto Gospel Choir - in his studio, and record them!

"The SGC (Soweto Gospel Choir) and the children from the orphanage had trouble getting together for one song, 'Thina Sonke', in the studio allocated to the bulk of the project," says Bouwer. "Robin wanted to know if I was willing and crazy enough to squeeze 20 top-notch performers into my live room, and I said yes!"

"Then I realized that I didn't have enough microphones to handle the choir and lead singers. I figured I needed seven similar mics, with figure of 8 patterns. The choir is split into four voices, and there were three lead singers on top of that. Incidentally, SGC record everything live with no overdubs - that's how good they are! The hunt for gear 'favours' was on. I knew that sE mics are excellent, having heard them before in other studios, so my first port of call was Turnkey Music, in Johannesburg. I managed to get hold of the owner, Peter Tuerk, who immediately offered "as many sE mics" as we needed. Shortly after that, Paul Martin arrived at my studio with four sE Electronics Z5600aII's and three sE Electronics Z5600 MKI's, including three heavy-duty stands."

"The mics sounded beautiful," Ludwig continues. "With almost no tweaking, the choir sounded great. I found the mics to have a lovely top-end, clear but in no way harsh. The low-end response was also great, especially considering that the choir was not exactly standing on top of the mics. With very little noise floor the mics are very quiet - great for dynamic vocal work and good side-cancellation in figure-of-eight mode, it was easy to get good levels out of the mics. Overall, the sE Z5600a's sounded like really, really good tube mics - which is exactly what they are!"

"The mics were just 'set and forget'. As long as you have some idea of what you want to pickup and what should be excluded, the mics just go to work… it was actually almost too easy to get a good sound. I did not own any sE gear at the time, but now I know the mics are just so excellent, every engineer should have some."

The recording ended up being perfect for the project which has since received great reviews for its moving story about the children of the orphanage attempting to raise funds for the facility. Meanwhile Ludwig's own band The Lemmings (www.thelemmings.co.za) are touring the States from September ("with sE mics, no doubt!") and he has just finished a wonderful acoustic/alternative project for Namibian singer Andra (www.andra.co.za).

More about the We Are Together project at http://wearetogether.org/

More about Ludwig's studio at www.onebigroom.co.za

Top Dance Producer Stuart Crichton

Fri, 27 Jun 2008 00:00:00 +0100

Whether tracking for Kylie, Pet Shop Boys or Sugababes, Stuart Crichton uses sE mics "on every production I do"…

For producer and engineer Stuart Crichton, making records that move the dance floor is a passion that can be charted back to the very beginnings of Progressive House. With hundreds of releases to his name, Stuart has not only released tracks on seminal labels (FFRR, Epic, ZTT, Mushroom, Nettwerk, React), but was also instrumental in making Limbo Records a leading light on the early '90s progressive scene.

Since those early days he has immersed himself in the world of music production. And with over 15 years production experience he's forgotten more about making dance floor bombs than most producers will ever know - how else do you get to work on tracks for Jamelia and Kylie (Parlophone), Simon Webbe (Innocent), Delta Goodrem (SonyBMG), Jonas (Universal) and Brian McFadden (Sony/BMG).

He's also just returned from a successful writing trip in Nashville and won The Miami Best Pop Award in 2005 for his artist project Narcotic Thrust (not in any way a reference to 'disco beans', but rather an anagram of Stuart Crichton!), with "I Like It" (UK No.7).

Stuart may have his roots in dance but vocals play a huge part in his productions, and he can easily turn his hand to most styles of music, as previous successes with Kylie, Charlotte Church, Pet Shop Boys, Bond and The Sugababes will testify.

His back catalogue reads like a who's who list of dance and pop heavyweights, and this experience has led him to experiment with practically every type of microphone going…and from all of them one brand sits on top of them all for Stuart - sE Electronics.

"I'm using a few sE mics in the studio right now," Stuart reports from his Hastings-based studio. "I particularly like the Z5600aII [multi-pattern tube condenser], the SE1a [small diaphragm condenser] stereo pair, and the new GM10 [guitar mic]. The Z5600aII I use on every vocal production I do.

…and having just got the GM10, well, I'm using that absolutely every time I record acoustic guitar... it's just amazing!"

As is often the way when deciding on new microphones, it was a suggestion from a fellow engineer that got Stuart into the sE mics in the first place. "My friend Javier Weyler recommended the Z5600a to me when he was an assistant engineer at Sahara Studios. He told me that sE mics offered amazing quality for a great price - and he wasn't wrong! He's now the drummer in the Stereophonics... clever chap!"

"Sure, with microphones it's all about the sound, but sE mics make my life easier. These mics are just so flexible. I don't think I'm being overly dramatic when I tell you that I couldn't live without my sE mics now. These mics can handle all of my recording needs - period!"

"When you're capturing a performance there's one rule that I use to decide if I've got the recording I need: if it sounds right, it is right. And with sE mics I can be really confident that they're giving me exactly the results I need."

Matt Sime - Producer

Wed, 25 Jun 2008 00:00:00 +0100

Engineer and producer Matt Sime has worked with some of the biggest bands including Feeder, Moloko and Therapy and has discovered that the complete sE range can help him solve pretty much every studio problem…

Matt Sime has always had a love of music but after realising he had more of a knack for recording it than playing it became an engineer, working at Trident 2 and Swanyard Studios. "I then went freelance to work for Chris Sheldon, Alan Moulder and Al Clay," he says, "and gradually got more engineering work which then progressed into production."

Matt has become a big sE fan and owns most of the range - including the Reflexion Filter, pair of SE3s, R1 ribbon, GM10 and Z5600 mics - after being recommended them by fellow producers and engineers including Gil Norton and Adrian Bushby.

"The Reflexion Filter works really well," he says. "It's good for doing vocals in the control room. The SE3s have replaced my normal AKG 414s or 451s for overhead drum mic'ing. They give cymbals a great impact and let them cut though walls of guitars. I use the R1 Ribbon for mono drum ambience as it gives a really natural sound that you can destroy later. I also use it sometimes on guitar amps. With the GM10 you get the same acoustic sound every take with a clear upfront sound and the Z5600a is good all around mic. I use it for vocals, drum ambience, sax, flute, cello and as an room mic on acoustic guitars with the GM10 (GM10 close, Z5600 far)."

"The GM10 has changed the way I record acoustic guitar," Matt continues. "I think that this could be as good on stage as it is in the studio. It'll hopefully put an end to that horrible plastic DI sound that people get."

Most of all, though, the sE range helps Matt stick to his recording philosophy which is to "keep it all sounding as real as possible and don't over think things".

Matt's currently really busy with lots of new projects: "I'm really excited about a new band called Bang Bangs that I'm working with, he says. "And I'm also trying to get a little indie label going with my partner up at The Crypt Studios."

Whatever he turns his hand to though, it seems that Matt will have a piece of sE gear equal to the task…

Modern World Studios

Wed, 14 May 2008 00:00:00 +0100

Since opening their doors in 2007, Modern World Studios have already tempted an impressive roster of artists and producers through their doors. No doubt the luxurious 5-star accommodation and enticing home cooked food will be a big factor, but what are such luxuries without a world-class sound and access to the finest recording equipment? What indeed!

Fortunately Modern World Studios have spared no expense. With SSL console, a massive range of guitars and instruments, the best in outboard and a huge selection of plug-ins, it's little wonder the studio is in constant demand. But what is any of this without the means to capture great recordings?

For head engineer Ben Muscat, ensuring the studio can cater for anyone's tastes is paramount, no matter what the situation demands. And over the years his experiences have shown him what gear works best for any given situation…

"As Modern World's in-house guy I make sure that whatever the session demands has been anticipated in advance. And there are many standard set-ups that I know will work - which is why we often see the sE range of mics called into action over other more established studio brands."

"We bought a whole range of sE mics to add to our existing collection as they offer many strengths across the range. So far we own a pair of z5600as, a pair of z3300as, a matched pair of sE3as, a Gemini Mk.II, a Ribbon and a GM10 acoustic guitar mic system. And to add the finishing touches we also own a pair of sE Reflexion Filters for added isolation when recording and a pair of rock solid sE mic stands."

"The great thing about sE mics is that they come as a complete package. Each mic comes with a well designed shockmount that's built to last, while the mics themselves have all of the extras we've come to expect - pattern selectors, pads and low cut switches, shockmounts… it's all there!"

"Why did we go for sE? Three reasons: price, flexibility and sound. We actually borrowed a few of them when we were kitting out Modern World. We had a budget to get in some new mics and we wanted to A/B a few to see how they compared. Let's just say that there are many sE mics here now as a result of that first listening session!"

"In the studio we'll usually go with the sE5600a for vocals, or as room mics for drums, on guitar cabs and acoustic guitar. The sE3as get used a lot for hats (for that 'darker' hat sound), toms (great depth with the right gating), and close-miked piano, as it gives plenty of detail but with an overriding warmth to the tone. The GM10 we use for acoustic guitar and mandolin. The clip system is internally shock-mounted so well that low frequency rumble has never been a problem, which is perfect as I've always preferred the acoustic guitar sound with the bass roll off left bypassed. And then the Ribbon on guitar cabs for that 'one-mic-that-just-gets-the-tone-right' solution!"

With a couple of sE Reflexion Filters there's plenty of opportunity to record vocals with that added dryness that gives you more options at mixdown, but for really taking control of the acoustic environment you need the power of Ghost Acoustic, as Ben has discovered…

"For me, there's nothing that comes close to the Ghost Gobos for the price. The semi-modular construction means that we can grab the blocks to stack around or partition amps, while other times we might build up a temporary partitioning wall between performers or instruments. Having the Gobo stands means that there is more room for people to tailor the recording environment to how close or dry they want the sound. They are constantly being shuffled about for different setups."

"Ultimately sE microphones and Ghost Acoustic are a massive asset and complement what we do here at Modern World. From the outset the equipment we chose for the studio was to allow choice and freedom for different genres and methodologies. And having so many different sonic choices gives a producer much more scope to capture a performance in a distinctive way."

Matt Robertson chooses performance products

Mon, 05 May 2008 00:00:00 +0100

Matt Robertson has worked with the UK's biggest producers, on films like Hot Fuzz and The Other Boleyn Girl, as well as producing the music for over 100 TV ads including campaigns for Mercedes, Pepsi, HP and Land Rover. With such a myriad of different musical projects, Matt demands the best gear and says of his sE purchases: "price v performance really is that good."

Matt Robertson learned his production skills from one of the best in the business: Prodigy producer Neil McLellan. "We started a music production company and he basically taught me pretty much everything I know about recording and producing and makes amazing records," says Matt.

The company they founded was bought by New York based The Lodge with whom Matt now produces, arranges and orchestrates music for film and TV including the aforementioned smash hit films and TV adverts. Part of Robertson's philosophy is to make the best of his surroundings and gear when recording…

"I'm a firm believer in the fact that you can get good results out of less than ideal recording situations with a bit of knowledge and patience," he says. "However, having the right tools on hand makes life very much easier. Packages like the sE4 mic pair and the sE Reflexion Filter definitely fall under the category of 'making life easier'. They are good, solid products that perform very well."

So how is Matt specifically using his sE gear? "I'm using the sE4s as instrument mics and also as close drum mics," he says. "They are great on snare drums. I'm also using them a lot on acoustic guitar and was using them as a cross pair somewhere in between room mics and close mics on things like piano and glock and when re-amping stuff. With the sE4s I really like the whole package: stereo bar, shock mounts and all. It's good quality hardware."

"I have been using the Reflexion Filter for vocals in less than ideal recording environments," he continues, "where it really does help a great deal in getting rid of bad room sounds. It has made it possible to do credible vocal work in very much less than ideal rooms and is a good workaround for many situations."

Finally one of the other sE items that Matt is a fan of is one of the company's simplest: a mic stand! "Yes, but good mic stands are very hard to come by," he laughs, "and is a very welcome addition to my recording gear!"

Over all Matt simply judges the sE range on its quality and astonishing price…

"The last studio I was in," he recalls, "the studio owner refused to believe that any good mics could be that cheap, but I proved him wrong. Price v performance really is that good."

Matt is currently finishing an album with Kelly Malone, recording with composer Michael Price for the film Wild Child, and working on a project with producer Damian Taylor for the artist Atarah Valentine.

Matt's top recording tip

"I love recording the sounds of instruments in real places. I think the sense of space around recordings is very important in setting up a mood and a sense of integration between instruments. Obviously this depends a lot on the kinds of projects that you are working on, but if at all possible I like to be able to record in a good sounding room where you are more likely to want to keep the room sounds than try and turn them off!"

The Ballad Of Ronnie Drew,

Tue, 15 Apr 2008 00:00:00 +0100

U2, Shane MacGowan, Andrea Corr and the cream of the Irish music scene salute the legendary Ronnie Drew with a living tribute

When the stars of the Irish music scene lined up to record The Ballad For Ronnie Drew, a 'living tribute' for the Irish singer and folk musician, they ended up with a fantastic song helped in no small way by veteran engineer Enda Walsh and his sE Gemini and Reflexion Filter…

Ronnie Drew is the legendary Irish folk musician, member of the Dubliners, solo musician and a man who quite clearly has many fans and friends within the Irish Music scene. Recent health problems triggered a gathering of these musicians - including international stars such as Bono, Sinead O Conner and Andrea Corr - to record The Ballad Of Ronnie Drew, already a smash hit in Ireland with proceeds going to The Irish Cancer Society.

The video (see link below) reveals the likes of Bono et al using sE's award-winning Reflexion Filter and Gemini II microphone during the recording of the song. Assistant engineer Enda Walsh - a big fan of sE products - was in on the session along with engineer Alastair MacMillan.

http://www.u2.com/highlights/?hid=437

"Both Alastair and myself have previously worked, and continue to work, with most of the artists involved" says Walsh. "I started out working in studios and was honoured to do Front Of House sound for Van Morrison for 10 years, a position that gave me the privilege of working with Ray Charles, James Brown and many more.

"Alastair MacMillan has been a long time friend," continues Walsh. "He has also used my sE Gemini II and Reflexion Filter on many occasions and was very happy for me to bring them along to the session. He, also, is a big fan of sE."

"I love the natural sound of the Gemini II," continues Walsh. "Not only is it my default vocal microphone, it is also my preferred acoustic guitar mic. I haven't tried it on piano or drum overheads yet but I have no doubt that it will deliver."

And what did he make of the Reflexion Filter?

"It is just the best thing ever. I can't imagine why someone didn't do it years ago!"

So how did the big day go in the end?

"The recording day went very well," replies Enda, "although it is somewhat of a blur, due mainly to the turnaround speed. Everything went very smoothly and everyone was 'more than happy' with the sE set-up, which is a tribute to you guys. Take a bow!"

Enda is also the owner of Amberville Studio. For more see www.ambervillestudio.com.

The secrets of Paul Herman

Thu, 27 Mar 2008 00:00:00 +0000

Paul Herman is one of those rare talents who can turn his hand to any job in the studio - whether co-writing with Dido, Natasha Bedingfield or Mint Royale, or even co-producing with superstars like Corinne Bailey Rae. Consequently Paul Herman has his pick of the finest tools for getting the best results he can.

Paul Herman has immersed himself in music from an early age, be it writing weighty pop hits or taking on production duties from the control room. His first break came back in the mid '90s when he landed a gig playing guitar with Pop-Trance uberlords Faithless, and within a year he was fronting critically acclaimed dance renegades Skinny.

But it's in writing and producing that Paul's career has excelled, and with credits as diverse as Dido, Mint Royale and Corinne Bailey Rae it's clear that his many talents are sought by the great, the good… and in fact anyone who needs that magic touch.

With this much experience in the studio Paul's managed to hone his equipment to give him the perfect blend of quality and character. Arguably capturing the sound you need is the most pivotal part of the recording process, and just a quick look through Paul's mic cupboard reveals his secret weapons of choice - sE 3As (stereo pair), sE Reflexion Filters, sE Z5600a, sE Gemini, sE mic stands and pop shields…

"Why do we have a cupboard full of sE gear? Well, the results speak for themselves! The Reflexion Filter is just a great asset for any vocal performance - even when recorded in a vocal booth. It gives me an even more neutral starting point for what I'm recording. And as a result we now use it on all our lead vocals."

"But for recording acoustic guitars - or in fact any instrumentation - we reach for the stereo pair of SE-3a mics. People might say that we're taking it a bit too far when we break out the sE mic stands, but they're amazingly stable. You can really rely on those stands when it comes to solid reliability, especially when using sE's bigger mics, like the Gemini. And the sE metal pop shield is the only one we're using now."

"The reason we bought into sE in the first place was purely because we were hearing so many producers and engineers tell us just how good they were. They were getting uniformly great results, no matter what they were recording - so we decided to try them."

"We have a simple philosophy when it comes to recording. I guess it's pretty much the same philosophy they used for those old Motown classics, which is to try to write great songs, record them live with fantastic musicians - no click track - through fantastic equipment. As long as you do all that in great sounding rooms then you'll be sure to guarantee two things - big smiles on everyone's faces and great results every time!"

Simon Franglen chooses Ghost

Wed, 26 Mar 2008 00:00:00 +0000

Simon Franglen has worked with the biggest names in music (including Celine, Whitney, and Quincy) and produced one of the biggest songs: the Titanic love theme My Heart Will Go On. He has just installed Ghost Acoustic treatments in his room at Air Studios and concludes: "it's made a huge difference and conventional systems were rubbish in comparison."

Simon Franglen is one of the UK's most experienced producers having learnt his trade on both sides of the Atlantic. Before producing, he was programming for some legendary names including Trevor Horn, Bruce Swedien (Michael Jackson), David Foster, and Quincy Jones. "If working with those guys doesn't rub off on you, then you have to pretty thick!" he laughs. Fortunately it did rub off and during a 15-year stint in the States and his current residence at the mighty Air Studios, Franglen can now list some huge artists on his CV - including Celine Dion, Whitney Houston, Toni Braxton, Michael Jackson, Eric Clapton and Barbara Streisand - plus one of the biggest songs of all time…

"My career built up in LA," recounts Franglen, "and I ended up doing a lot of film work with the likes of John Barry and James Horner who was working on Titanic. James gave me a piano sketch of a tune. He said: 'I've got this tune and I'd like Celine [Dion] to do it'. I'd worked a lot with her over the years so I demoed up the tune, James played it to Celine who liked it and sang on it. It became My Heart Will Go On. I produced that with James and 30 million albums and a Grammy later, the ship sank!"

Franglen has two main studios, one at the Old Tyne Tees TV studios ("where they shot The Tube") plus a preproduction suite at Air. It's in this latter space that he has recently installed the Ghost treatment…

"I was unhappy with the sound - it just didn't work," he says. "Air is a beautiful old Methodist hall with some preproduction lofts at the top of the building. There are three rooms containing Giles Martin (The Beatles Love Album producer), David Arnold (Bond Composer) and me. The problem with my loft was that it had sloping ceilings with no installed acoustic treatment. I do a lot of 5.1 mix preparation so I needed to get that room sounding right."

"I read about the Ghost Acoustic panels and realised that they might do the trick," he continues. "We tried them out as the aesthetics were important as was the ability to control the sound without major restructuring. We didn't have the space to build enormous traps or reshape walls. We've got about 14 panels in there: the bass traps, the ceiling panels, pretty much everything. Putting them up was unbelievably easy. It's made a massive difference to the sound. First of all the bass is controlled, which is great. Secondly the imaging has improved 100%. Because I'm doing so much 5.1 work you really need a focussed sound. There's so much more control now."

"It's really made my pre-prod room into an environment that I can actually use and feel confident about what I'm hearing. I always take tracks downstairs into the big Air rooms as I still like mixing on the big old desks. Before [installing the Ghost panels] the work wasn't translating properly but now it is infinitely better. We tried other treatment systems and they were rubbish compared to the Ghost panels."

Simon is currently working a lot in the pop/classical crossover arena. "It is one of the few areas in which people still buy a lot of CDs. I'm currently working on tracks for Andrea Bocelli, Katherine Jenkins and others. It's varied life and career - I've done everything from writing the Direct Line jingle 20 years ago to working on 'Moulin Rouge'. Last year I produced the Rugby World Cup theme for the worldwide networks which involved getting some of the best opera singers in the world together for a big shout-up - great fun and about 90 tracks of vocals!"

Simon's next mix projects involve doing several 5.1 remixes including some absolute classics like I Heard It Through The Grapevine and Thin Lizzy's Live & Dangerous. "I'll be doing quite a few surround projects this year. Conversely, as a producer, I am scheduled to deliver and mix 53 songs by the middle of May!"

With that much work lined up, at least Franglen knows that, with the help of his Ghost Acoustics treatment, he will get the right sound every time…

Geoff Martyn is sure about one thing

Wed, 13 Feb 2008 00:00:00 +0000

Geoff Martyn is sure about one thing: "sE's Gemini is the best vocal mic out there!"

With so many mics to choose from, it's easy to lose sight of your goals. If your goal is to capture great recordings every time, then there can be only one…

Singer/songwriting Geoff Martyn lives and breathes music production, so when he recommends a mic you know he's talking from experience. For one so young he's already racked up an impressive resume - the one-time member of Travis has written with some of the best in the business, including Wet Wet Wet's Marti Pellow, Adam Levy (The Norah Jones Band) and Chris Difford (Squeeze).

But from an early age a passion for music production steered him into the control room, recording and producing not just his own material but also a diverse roster of bands and solo artists.

It was while recording in another studio, however, that Geoff first heard that Gemini sound. He instantly realised that sE was the way forward.

"As soon as I heard the results coming through the monitors I just knew that I had to have that sound. And when I asked the engineer a few questions about the mic I realised I could easily achieve the same sound in my studio."

"Shortly after that I was recording in a studio in London, and we had a Neumann, an AKG and the Gemini set up for the session, but it didn't take long for the other two mics to fall by the wayside. The Gemini won hands down, there was just no doubt that it gave the fullest, richest reproduction of the vocalist's voice."

"So that was a year ago, and since then I've really embraced the sE sound - in my studio I'm now the proud owner of a Reflexion Filter, the sE 2200a, the sE4 Stereo Pair, and, of course, the Gemini II. When it comes to recording acoustic guitars and vocals there's just no competition."

"The sound of a mic is obviously very important, but with sE gear I love that you get everything you need right out of the box. Many mic manufacturers will happily sell you a mic, but then you realise you need to pay extra for a case, a shockmount and whatever else you might need. With sE you know that they'll include everything you need at a great price."

"So with the Gemini I have a great valve mic that captures incredible vocals every time. It's the ultimate vocal microphone, and I defy anyone using it not to get a great sound!"

Bonsai Music choose sE

Tue, 06 Nov 2007 00:00:00 +0000

Bonsai produce music for prime-time US TV shows and their own artist roster - when it's time to record they reach for two sE favourites: Reflexion Filter and Gemini…

It's taken a lifelong obsession with music and years of dedication for Andrew Crutwell-Jones to realise his dream - running two fully equipped studios that produce bespoke soundtracks for TV, film, multimedia and recording artists.

Bonsai Music Production may have been producing music professionally for just five years, but their rise to the top has been nothing short of remarkable. They now count such world-famous clients as 19 Management and the Fox Network amongst their roster, as well as up and coming artists Amy Studt and Zeebra.

Andrew's rightly pleased with this success - not bad for a man who struggled to buy his first computer when asked to pitch for a commission from the BBC five years ago! Proving that from tiny acorns mighty oak trees do actually grow, Bonsai now offers a main studio equipped with the kind of gear their a-list clients expect, including the ultimate recording combo - the Gemini dual-valve microphone coupled with the award-winning Reflexion Filter.

"When we're in the studio we need to rely on gear that's robust - gear I can experiment with, but ultimately gear that's also of a rock-solid quality so I know I can use the end results."

"The Reflexion Filter is what I turn to when recording vocals and guitar. When I need to get an amazing closeness on certain tracks I'll have the artist lay on the floor holding the Gemini in their hand and set up the Reflexion Filter so it cups their face. The final piece of the jigsaw is to cover their head with a duvet. Yes, it sounds a little weird, but trust me - it works a treat! I've done this both in my studio at home and in larger studios as it's the only way to get the sound I'm after."

"But the Gemini is so versatile. It's not just good for vocal recording - I've done some pretty far out things with the Gemini and it always gives great results. One time I miked up the end of a tunnel made of breeze blocks, stuck an amp at the other end and hit record. Fantastic, really dark distant guitar sound that's great to mix in as an effect. The Gemini and Reflexion Filter are a great combo!"

"These days recording is often a case of style over content, but producing music shouldn't just be about the equipment you use and the latest plug-ins. Producing should be about getting the best from an artist. In my opinion there's an abundance of things we can do now when it comes to recording, but the key is always the song."

"And this is why I like sE gear - yes, it always does what it says on the tin, but then so much more besides."

Peter Miles - Rock Producer

Sun, 28 Oct 2007 00:00:00 +0100

Peter Miles is a rising star of the rock, punk, metal and hardcore scenes, and has been producing an incredible number of bands over the last couple of years. For each and every one, there is one brand that Peter returns to again and again… sE!

"I'm not a gear snob at all," so says Peter Miles, the latest talent on the metal and rock production scene. "I choose my equipment by its performance in the studio, not by its price tag or badge. sE mics have consistently out-performed the competition in my tests, regardless of price, so I'm happy to stick by them."

You can't say fairer than that, and Peter certainly has the experience to back up these words having worked with countless bands and acts including Sonic Boom Six, Howards Alias, The King Blues, Vallenbrosa and Your Demise. "I specialize in heavy guitar-based music most of the time," he says, "working with rock, punk, metal and hardcore bands. I always focus on the band/artist, the songs, their sound and their strengths before I even think about mics and compressors. But I know my gear well and I know that if it sounds right in the room, it'll sound great on record as I can rely on my equipment."

And a lot of that equipment has the sE logo on it, including a Gemini II, a pair of Z5600a IIs, an ICIS, a pair of SE3s and a Reflexion Filter. "I was aware of the sE brand," says Peter, "but it wasn't until I acquired an original Gemini in a trade that I realized how good their mics are. I now use a Gemini II as my main vocal mic. The z5600as are mainly used as drum overheads, the ICIS for vocals or guitars and the SE3s are generally used for hi-hats, ride miking or overheads."

"My z5600as have really improved my drum sound. They give me so much more depth and sparkle than the previous big name condensers I had. I've often found myself raising the height of the overheads to take advantage of the clarity the mics offer."

"The Gemini is a really impressive mic," Peter continues. "It conveys such intimacy with just the right amount of warmth and brightness. The ICIS seems to be it's perfect partner as well. It has a smoother, rounder feeling and has really worked for several female singers. And the SE3s are incredible workhorse mics, they seem to work in almost any situation and they are so well priced!"

Peter then recounts a story that sums up his thoughts on sE mics: "One female artist I worked with brought her own Neumann with her and initially insisted on using it on the record. I convinced her to try out a few of my mics and after a blind testing with the whole band, we decided that the sE ISIS was by far best for her voice and they were all stunned to find out that it costs well under half the price of the Neumann!"

And as to the future, it looks like Peter is going to be busier than ever with his sE gear. "I've got some exciting projects coming up," he confirms. "As well as setting up a new studio in Devon, several bands that I worked with are returning to record their second albums with me in 2008. Failsafe are an awesome rock band who combine the power and energy of some of the hardest hitting punk bands with a strong sense of melody. London reggae/folk band The King Blues are returning to work on their second album for Island Records. Then there's Pickled Dick! They are straight up pop punk in the vein of Greenday and really are one of the best pop/rock bands I've come across with some of the catchiest songs ever penned! I'll also be working with UK metal band Vallenbrosa on their second album, fresh from a tour supporting metal legends Sepultura."

Sonic is 5 years old

Thu, 30 Aug 2007 00:00:00 +0100

After just five years, Sonic Distribution have become the ultimate solutions expert, distributor and manufacturer in pro audio…

Sonic Distribution recently celebrated five years in the business during which time they have become one of the largest - and certainly the fastest growing - music technology distributor and manufacturer in the UK. And with a new office and distribution facility, brand new website and the best brands in pro audio they have now become the undisputed solutions experts for musicians, producers, project and professional audio facilities across the UK.

Sonic Distribution's large portfolio of complementary and market-leading brands clearly shows depth, diversity, strength and quality, and covers almost every conceivable area of music production. At the signal front end you have the award-winning sE range of microphones, not to mention the fastest selling product of the last two years, the Reflexion Filter. For A-D and D-A conversion, no one comes close to Apogee's dedicated range of professional convertors. Then there's Waves, the kings of audio plug-ins, used on an estimated 80% of hit albums in recent years. Rupert Neve, the father of mixing technology, is surely the most influential person in pro audio and his Rupert Neve Design range of outboard gear easily maintains his amazing reputation. In fact one reviewer recently said that it is 'some of the most desirable gear ever made'. For studio acoustics Ghost Acoustics is the brand to install with one pro audio magazine noting that it beats every other system on the market. And, last but by no means least, does Apple need any introduction? With the world's best computers and, in Apple Logic, the world's finest DAW, Sonic can now provide the ultimate computer music set-up.

In fact with all of these integral brands Sonic Distribution can provide the ultimate studio set-up whatever the requirements, and with a new website (www.sonic-distribution.com), musicians and producers everywhere can easily find the best products and solutions for their needs. The new site is heavily product focused with each company page listing descriptions, technical data, recent reviews and the latest news. There are also special offers on the site plus company news, a list of affiliate dealers, forthcoming events and a support section. Visitors can navigate quickly to a product and, if they choose to, use Sonic Distribution's groundbreaking Free Loan service, a 'try before you buy' scheme which enables customers to try a product out to use in their set-ups completely free for seven days, no catch!

Better still anyone can try out these superb brands in situ at Studio Sonic, a bespoke London studio installed with all of Sonic Distribution's studio gear and set up as a fully working, professional facility with Sonic Distribution's experts on hand to help and inform. Last but not least Sonic Distribution have just acquired a new five and a half thousand square foot distribution and warehousing facility and offices. Plenty of room to expand into, and expand they will, as Sonic MD James Young states:

"It's been an amazing five years. In that short time we've been able to pick and choose leading brands to offer producers and musicians the ultimate solution from the ground up, no matter what their experience or set-ups, from bedroom studios right up Real World studios! With our free loan service and Studio Sonic, we also offer the easiest ways for people to try before they buy. And with the new website, new lines and a brand new office complex we can only go from strength to strength. Here's to the next five years!"

Producer Gareth Johnson relies on sE in the studio

Mon, 13 Aug 2007 00:00:00 +0100

Producer Gareth Johnson relies on sE in the studio. Why? "sE gear is unique, reliable, solidly built and delivers great results".

When it comes to sorting out your priorities in life, producer Gareth Johnson has a simple philosophy: "music all day, every day". Little wonder then that after years honing his studio skills he's now producing Natalie Imbruglia and Goldfrapp, recording the Royal Philharmonic Orchestra and writing theme tunes for Norwich-based anti-hero Alan Partridge.

Not many people rack up that kind of CV after reaching the tender age of 27, but Gareth's mastery of the recording studio comes from a lifelong passion that's built from myriad influences, be they Heavy Rock, Hip Hop, Electronica or 80s Pop. Two years ago he launched his own studio - Stand Alone Productions - and has since diversified, writing music for TV and film, as well as producing 5.1 sound for DVD.

But no matter how proficient you are at getting a great sound, ask anyone in the recording business and they'll tell you that some processes could easily be refined. And Gareth is no different, although luckily for him sE Electronics are at hand with some unique solutions - namely the GM10 [guitar condenser mic with boom], the Reflexion Filter and the Gemini II [dual-valve microphone].

"I'm often recording acoustic guitars, and let's be totally honest here - it's a pain! Guitarists - myself included - move around a lot, so getting a consistent level and tone can be tricky. But the GM10 boom clips onto the body of the guitar itself, so the guitarist could be jumping around the room or even standing on their head and the mic stays in place - positioned in the right place on the guitar body. And it gives a full, rich tone. You know, I really wasn't sure what results I'd get with the GM10, but I was totally shocked by how good it sounds. It'll make a cheap guitar sound expensive and an expensive one sound even better!"

"Because I work on such a diverse range of projects I travel around a lot and record in different locations, so sE's Reflexion Filter is an essential for me. It makes doing vocals in the control room a reality, and it also means that I'm guaranteed a useful recording environment whenever I hit the road with my portable recording set-up."

For Gareth such flexibility simplifies the recording process, as does having the right tools for the most important aspect of the recording chain - audio capture. "The Gemini became my favourite vocal mic from the day I plugged it in," Gareth explains.

"It's simply hands-down the best mic in my collection for many jobs around the studio, especially vocals though. It's warm, crisp and clear and seems to add more detail than anything I'd used previously. It seems to make vocals sound fatter! And the results need less processing because Gemini captures all of the nuances from a performance. That also makes it a great choice as a room mic in the drum room, or for miking up guitar cabinets too. It used to be a secret weapon, but these days the Gemini is sneaking its way into all sorts of places!"

"Ultimately sE gear is stress free. There's enough to worry about when you're in session, but I know that sE gear will give me the results I want without having to work really hard to get the best out of it. And if I'm worrying less about results I can relax more in the studio."

Up against the best in the business

Fri, 22 Jun 2007 00:00:00 +0100

When you're working with artists as diverse as Status Quo, The Summits, and Fame Academy runner up Alistair Griffin you need to know that you have the right tools for the job - tools that deliver great results no matter what's required. Which is why Rock, Pop and Metal engineer and producer Ben Hammond insists on sE mics.

Ben's been through the mill when it comes to the music industry, learning what he can from any role, be it roadie, engineer or producer. But it was while working in a music store on days off from his Sound Design degree that gave him the biggest breaks. Within months he was riding Front Of House faders for Sweet Inspirations, Elvis Presley's female backing singers and mixing live on the BBC - not bad for a first year university student!

Working in the music store also allowed him to audition every quality mic in the business, giving him immense knowledge and insight into the single most important part of the recording process - knowing which mic to use and how.

"It's rare that a mic comes along that really blows you away, so when it came to re-vamping my mic collection sE was my first choice. You really can A/B these mics with the Nuemanns of this world and get the same results. That and the miniscule price tag make sE irresistible to me!"

It was only when Ben finished his studies that he decided to take the plunge and become a freelance engineer, using the wealth of experience he'd picked up over the years to realise his dream. And now with his career firing on all cylinders, he's just embarked on his biggest project to date - building his own studio.

Results are paramount when it comes to recording sound, and because Ben's working for such a wide range of artists he needs the mics he carries to be diverse and flexible.

"There are infinite ways to get 'that take', so when it gets to the point in a session when I need a mic to bring out the detailed top end, or to capture the room ambience, I know exactly which mic to pick up."

"One minute I'm using the Z5600a [valve condenser mic] for a beautifully detailed female voice, then an hour later I'll be using it on an ambient kick drum. And the Titan [condenser] is a great overhead mic, but I also love it for airy backing vocals, or a female pop vocal.

"But when it comes to vocals I'm nearly always reaching for the Gemini and the Z5600a. I find the 5600 really comes into its own for pumping 'rocky' vocals, but the Gemini [dual-valve] gives me the detail I need to hear every nuance in that intimate 'hair standing up on the back of your neck' type vocal."

"And I'd be lost without my R1 [ribbon mic] when it comes to tracking drums - it's such a great room mic, but again it's so flexible. It can be the softest, roundest sounding mic for, say, jazz drums, but then turn up the volume, slam it through an LA2A and it's a brutal, fiery beast!"

"There are also some great features on sE mics -the variable pick-up pattern on the Z5600a is a really cool tweak, or example - but it's what comes out of the speakers that matters most to me. Sonically I just can't argue with the results that something like a Z5600a gives me."

"Ultimately sE mics repeatedly give me the performance I want."

Sebastiaan Cornelissen - Master Drummer

Tue, 22 May 2007 00:00:00 +0100

Jazz-Fusion heavyweight Sebastiaan Cornelissen began playing the drums at the age of five. Seven years later he was running his father's recording studio. Now that he's recording with some of the best musicians in the world he reaches for sE microphones.

Sebastiaan's been turning heads in the Jazz-Fusion world since forming the group Isotope while studying at the Conservatory of Amsterdam. His latest album, 'One Spirit', has just been completed with the help of a roster of stellar musicians and, of course, his collection of sE microphones…

"I used to rent a lot of different high quality microphones when I had to record bigger ensembles," Sebastiaan begins. "Then one day I came across sE's Icis and I immediately fell in love with the warmth and dynamics it managed to pick up."

So when Sebastiaan started work on his latest album the acclaimed tube condenser was a natural choice. "I recorded a solo with the Icis and was so impressed that I switched over completely to the sE's almost instantly - mainly because of the neutral sound and clarity that gave better results than the mics I had grown so fond of before."

That switch involved not just the Icis, but enough sE mics to cover every eventuality. "I'm using a variety of mics at the moment, both live and in the studio. The Gemini, sE1a, Titan, sE2200a, z3300a and, of course, the Icis."

But it's when listening to 'One Spirit', Sebastiaan's latest masterpiece, that the quality of the recordings becomes apparent. So just how is he putting his weapons of choice to use around the studio?

"Well, I love using the Gemini for instruments like the double bass, flugelhorn and vocals because it creates such a full tone and catches the lower frequencies so well. This is so important for lead instruments and vocals when they need a lot of presence and punch."

"For my drums I use two sE1as as overheads - I must say I've been very pleasantly surprised with these pencil mics! I always prefer a clean sound with almost no compression and as little EQ as possible. With other mics I had to tweak the EQ a lot more, and mainly at the high end as this is where I hear the colouring of certain brands of mics the most. So the closer an overhead can come to the original sound, then the easier the final mix will be."

"And I like the z3300a for my bass drum because it can take a lot of dBs but will also pick up the tiniest details - and it gives a very tight sound!"

"Overall I try to keep things as simple as possible, so I look for the most straightforward way to record an instrument, which is why I use sE mics. If something sounds good without any extra help, then great -this only makes the mixing easier at the end."

Girls Aloud and Sugababes producer chooses sE

Thu, 10 May 2007 00:00:00 +0100

Sugababes producer Bob Bradley relies on sE mics and Reflexion Filter to deliver great results, every time…

Bob Bradley has spent 20 years in the music business - not bad for a man of 30! But touring the world and putting out his own albums have taken a back seat while he produces some of the biggest names in the pop world, namely Sugababes, Girls Aloud and Natalie Imbruglia.

And when he's not riding the faders in his Leeds studio he's busy scoring music for the BBC and Discovery channels. But no matter what the project, Bob insists on using sE products to get the best results he can.

"I use sE's Gemini II [dual-valve mic] for pretty much all my vocals and voice recording now. In fact, I have it set up here full time, just ready to roll. The combination of that and the Reflexion Filter has made a lot of my other mics redundant. The Reflexion Filter is a great idea that was well overdue - it's a fantastic tool, and even in an expensive vocal booth it will still be a great benefit. I also record a lot of brass, and after experimenting with the Gemini it's now got the job full time!"

"Obviously the performance is the most important part of the recording process, but you need to know that you have captured that performance as accurately as possible. A good all-round mic is essential and I am happy to say that the Gemini II is now my workhorse."

"We have an upright Steinway at the studio, and for that I always choose the sE3s because they're just so warm. But that warmth also makes them ideal for strings, acoustic guitars, mandolins… the list goes on!"

But it's not just in the studio that Bob relies on sE, favouring the USB-powered USB2200a wherever his travels take him.

"I recently acquired a USB2200a mic that came with me and my laptop on a writing and recording expedition to the Middle East. It was a godsend! I could just plug it into my laptop for quick ideas and I ended up recording half an albums worth of vocals with it."

"The USB2200a is a very transparent microphone, which is exactly what you need for field recording. Plus it comes with a very useful headphone socket on the back with its own volume control, making it great for zero-latency monitoring. Simple and effective. Oh, and it's well built too, which makes it handy for travelling with. It's another great idea that sE have taken to a professional level."

KK relies on sE microphones

Fri, 20 Apr 2007 00:00:00 +0100

Few people are as versatile as Kevin 'KK' Kerrigan - composer, producer, recording artist, programming legend and all round studio guru, KK has worked with the best in the business. And when you work with the best you have to get results, which is why he records with sE mics.

Rewind to the turn of the millennium and KK is working with legendary Ambient pioneer and Pop producer Brian Eno, experimenting with the new directions that computer-based audio could take them and forging programming skills that would see Eno describe KK as a sonic alchemist. Testimonials don't come much weightier than that!

In the intervening years KK has racked up a CV that includes a 'grade a' list of musical heavyweights, including Dave Stewart, Björk, Steven Street, Britney, Kylie, Dido and KT Tunstall amongst many. He's also turned his finely-tuned ear to screens big and small, working on original music for Tom Cruise blockbusters and ad campaigns for British Airways and Google.

Clearly a producer as diverse as this needs to know he's got the best tools for whatever project he's involved with, so when KK first came across sE microphones he knew he was on to something good. "I was visiting a producer friend of mine and he was using a Z5600a [multi-pattern condenser]. Once I heard it in action I was convinced - and when he told me the price I was doubly convinced!"

"Right now I'm using the Gemini [dual-valve condenser], the Titan [multi-pattern condenser] and the Reflexion Filter. Like many people I find non-traditional recording environments are much more inspirational when it comes to getting a good take, which is why I love the Reflexion Filter. With that and a good mic you can make almost anywhere a great recording space. I' haven't tried it yet in a cave or a greenhouse, but I'm pretty sure it would cope!"

"I use the Titan because it has a really clear, warm sound, and because it doesn't need a power supply it's ideal for recoding in the field. It's a really versatile mic that gives flattering results to all manner of sounds, from brass to percussion. It's the 'safe bet' mic I reach for whenever I need a great, lucid sound on pretty much anything."

"But when it comes to vocals, it has to be the Gemini - it's just got a fantastic sound. I love the warmth, air and clarity it gives to a voice. It's a great mic to work with, giving a richness of tone that's close to mics I've used that cost many times the price."

"With both of these mics the recording process feels more fluid, which helps with creativity, inspiring a performer to work at their peak as the results sound so good really quickly," KK reveals. "Much as a painter will use more than one type of brush, I see recording as a similar creative process - both these mics have a very different sound, so they suit a variety of applications."

sE with Amy Winehouse and Mika

Tue, 06 Mar 2007 00:00:00 +0000

Somethin' Else are a team of three sound engineers and the largest independent radio producers in the UK. The multi-award winning team are also radio partners with the Brit Awards…

"We broadcast the show live around the world and provide interviews with all artists and performers," says Senior Engineer Barry Gardner. "The ceremony is massively popular internationally, and for 2007's ceremony we syndicated the audio rights out to over 20 countries worldwide!"

The team are always striving for excellent results using SADiE, Cubase and Pro Tools recording systems. They are also big sE fans and own a pair of sE1As, an sE2200a and an sE Mini…

"Being keen sound engineers," Gardner continues, "we have our own mic collections and set-ups at home. From our experience with sE mics in the past, we were confident that they could do a great job for us."

And that confidence was well placed as the team have now recorded a huge range of artists with the sE mics including Mika, Billy Cobham, The Long Blondes, Paolo Nutini and the one and only Amy Winehouse. They use the Mini and 2200a for speech recordings for radio and the sE1As and 2200a for music…

"For band sessions," says Gardner, "we've used the sE1s for pretty much everything: drum overheads for Billy Cobham, guitar mics for Amy Winehouse's guitarist, violins, even guitar amps on occasion when we have a very crowded studio! We're also very happy with the 2200a for vocals, and have used it to record Radio 2 and Hit40uk sessions for artists such as Mika, Amy Winehouse, Amp Fiddler and many more."

"There's a really pleasing amount of body to the 2200a and we often don't put any EQ on it at all - it often doesn't need any! We also find it works well on double basses and cellos."

"Radio recording is about getting good results quickly and production budgets are also often very tight," continues Gardner. "For this reason we looked for the best possible balance between cost and quality and think the sE mics represent excellent value-for-money, are reliable and also (crucially) sound great."

"They have also enabled us to be more versatile in our mic choice because the mics themselves are so versatile, particularly the sE1As. Because the sound is so immediately usable it's also increased our workflow, and any increase in workflow matters a lot in radio! The speed at which it's possible to get good results is the best feature of all the mics."

Somethin' Else are currently beginning a move to new studios and a much larger building. It has a much larger live room and brand new, state of the art radio production facilities.

"Hopefully we'll be able to expand our sE mic collection too!"

Somethin Else's recording philosophy
"We record straight to stereo for most band sessions so it's important to have the ability to judge a mix quickly and objectively - if you make a mistake when going to stereo there's no 'undo' button! We take great pride in our output and like getting the most out of the equipment we use."

Producer Rob Aubrey

Sun, 18 Feb 2007 00:00:00 +0000

When top producer Rob Aubrey needed to service his trusted Neumann U67, he discovered a worthy sE replacement for only marginally more than the U67's service charge!

"Sound Engineering was destined to be my passion from the moment I laid eyes on a mixing desk at school," so says Rob Aubrey looking back at the start of a successful career that stretches back 22 years. In that time he has worked with bands like It Bites, Transatlantic, Pendragon, Wills And The Willing and Big Big Train, not to mention artists like Geoff Downes and John Wetton, both in the studio and on stage as Front Of House engineer.

"My latest project is called PULSE and features Tony Levin on bass, Thomas Lang on drums, Mike Holmes (IQ) on guitar and Nick D'Virgilio (Tears for Fears/Genesis/Spock's Beard) on drums and vocals. I vow never to let any band leave my recording sessions with something they are not proud of. My repeat bookings speak for themselves!"

Over two decades Rob has dealt with just about every studio and live recording challenge and has now chosen an arsenal of sE gear to help him in this fight for perfection. But this choice has sometimes been at the expense of more expensive studio stalwarts…

"My first purchase was the sE Gemini," he says. "I then heard great reports about the ICIS and Z5600, so those were next on my shopping list along with the Reflexion Filter, mic stand and a stereo pair of SE3s."

"With the Gemini I needed a large diaphragm mic to replace my trusted Neumann U67, which was in desperate need of a service. I was so happy with it that I sold the U67 after it came back from the service. That service cost me nearly as much as the Gemini itself! It is a superb replacement for the U67 and on both ICON albums I used it to record John Wetton's lush vocal arrangements with ease."

"I used the Gemini with the Reflexion Filter for all main vocals and then without for all complex chorus harmonies that are so beautifully typical of John. The vocals sat together with ease and the Gemini proved a perfect combination with such a magnificent singer. I was astounded at the signal-to-noise ratio of the mic. The Gemini 2 is apparently even quieter - so I'll be saving my pennies and getting that very soon!"

"The ICIS is fantastic for female singers and, for the money, is a must buy, as is the Z5600, which has found use as an all rounder on acoustic guitars and drum room mics. The SE3s are always my first choice for overhead duties and stereo miking for acoustics."

"sE mics have changed the speed I work at because I know what each mic is going to give me, so I can quickly judge which mic will suit what vocalist or instrument. Having a range of mics gives me those options, while the financial outlay is minimal, so I have no hesitation in recommending these mics to my clients."

"I have also had a few occasions when only the biggest mic will do - the 'ego' of the vocalist requires something of equal magnitude. And I'm happy to say that the Gemini delivers on all counts!"

Rob is close to completing the PULSE project and still enjoying his work as much as he did when he first spied that mixer. "I still have the same passion," he says. "I consider myself extremely lucky to be part of a profession that offers so much in the way of fun, reward, long term friendships - and it takes me to places I would never normally go…"

Mick Lister - Songwriter and Producer

Tue, 30 Jan 2007 00:00:00 +0000

Mick Lister has penned tracks for Holly Vallance, S Club, Bad Company and several Pop Idol acts. He is currently ensconced in his most exciting project yet, recording the winner of the Channel 4 show Chancers, and his mic of choice is the sE Gemini…

Mick Lister has playing in bands since he was ten, enjoying a long spell of success as a member and co writer of The Truth who had several UK hits and who also scored well in America with a Top 40 hit and a Hollywood movie score.

After leaving life on the road behind, Mick became a songwriter and producer…

"We split up in about 1990," he remembers. "I didn't want to do the live thing anymore as we'd done so many American tours, so I spent a year out writing with unsigned bands and getting into production. I got signed to a publisher called Strong Songs under the Telstar umbrella writing for pop and rock, different genres…"

Mick then worked with a production company called DK in Denmark and Sweden and wrote songs for all sorts of pop acts. "The great thing was that I didn't have to produce it, just write it," he says. "I did the first single for a Pop Idol finalist Rosie Ribbons, called Blink which was a top 10 and also wrote a top 10 hit for another Pop Idol band called Fixed."

As well as song writing, Mick also produces and works with Steve Chrisanthou who produced a lot of the recent and hugely successful Corinne Bailey Rae material. It was Steve who introduced Mick to his number one mic, the sE Gemini…

"He co wrote and produced Put Your Records On and used the Gemini on all her vocals," Mick reveals. "Obviously hearing the sound of that I was so impressed by the mic with its warmth and clarity. I just had to have one and it was so reasonably priced as well."

Mick's also taken delivery of another hit sE product, the Reflexion Filter…

"It is absolutely fantastic," he says. "My studio is in my loft and Steve's is in a basement below an art shop so the Reflexion Filter is great for us, just such a great invention that just does what it says on the tin. It's fantastic, just deadens the sound and there's no reflection - it's just brilliant to work with."

Both sE products are being used to the full with Mick and Steve's latest and most exciting project yet…

"We are working with an artist called Katie Shotter who was the winner of the Channel 4 program, Chancers," says Mick. "Eight urban kids were taken over to Mathew Knowles stable (Beyonce's dad) and he gave them all the best coaching and handpicked the winner (Katie) who got a deal with Sony. We are three tracks through her album at the moment. I'm also going over to America in a couple of weeks to work with Mathew Knowles' producers because they've gone mad over one track that we've written and think will be the first single."

"With Katie's voice, the thing about the Gemini is that it's brilliant for a subtle vocal like hers. Obviously with the Corinne Bailey Rae stuff it sounds fantastic and with Katie the detail is amazing on it."

As if his work with Katie is not enough, Mick is currently developing other bands with help from the sE gear, of course!

"There's a band called Go Audio who I've just got signed to Sony, and there's a great band called The Volts, a typical classic rock format like a mix between Cream and Free. They've just done a production deal with Hugh Padgem and are doing an album with him. I'm also working with a band called Kick Superb from South Wales and I'm developing them."

So, watch out for these bands and remember: you heard about them here first!

Real World Studios choose sE

Sat, 20 Jan 2007 00:00:00 +0000

Real World's Studios take delivery of the sE range of microphones and conclude: 'great results', 'the best performance for the money' and 'the build quality is amongst the best out there'…

Real World Studios should need no introduction. This idyllic suite of top class recording and writing rooms has become something of a legend in its relatively short existence. Set up by Peter Gabriel, the complex houses the most state of the art equipment within some of the most beautiful surroundings the UK has to offer. The facility has recently taken stock of a range of sE microphones for its new Mill Side studio, as in house engineer Dom Monks and senior sound engineer Marco Migliari explain…

"Real World own both a Gemini, an sE2200a and a pair of sE3s. (I also own a z5600a)," explains Dom. "Bruno Ellingham [another producer and engineer at Real World], first put me on to sE mics. He had a few on demo and was getting really great results from them. There are, however, an increasing number of engineers and producers that come through Real World who own sE gear."

"The great thing about sE mics is their value for money. Because any producer or artist can easily afford their own sE mic they're not restricted to where they record. Whether it is between studios or in their living room, it's that much easier to maintain continuity. And compared to other 'low cost' mics on the market they just sound more expensive."

Marco agrees: "We wanted to offer a selection of microphones that would both fit the budget and be rugged enough to withstand the abuse they're typically subjected to, and also deliver the best performance for the money."

"I've tested the SE3 stereo pair on a grand piano, with the standard coincident arrangement using the supplied mounting kit. I've also used them on drums: one of the SE3s on the hat, two SE2200a as overheads and the tube Gemini as a mono ambience mic. The SE3s are great on cymbals where you'd normally have to filter out most of the bottom end. The pair of SE2200as sound very nice as overheads - they have a balanced tone and good accuracy, and on spaced pair stereo work they seem to output a solid image. I successfully used the Gemini to record the ambience for a drum kit with the creamy tube sound that I wanted."

And on the Z5600, Dom adds: "The great thing about it is that it has all the intermediate pickup patterns. For example on vocals, if you're getting too much bass tip up from the mic in cardioid, instead of EQing it out you can just switch it a step closer to sub cardioid. Or if you need a bit more on a thin voice you can switch it a bit closer to fig.8. It's a great tick if you don't want to change the distance between the singer and the mic."

And both Dom and Marco are agreed that the build quality is another major plus point of the range …

"The value for money is obvious, but beyond that the sonics and the build quality are amongst the best out there for new mics," says Dom. "It's all just that bit better thought out than other manufacturers."

"Also priceless are the rugged cases they come with, something that mics three times the price often don't have," adds Marco. "The accessories these mics come with (cradles, mounting kits etc.) are very useful in all situations and almost unheard of in this price range and seem to be long-lasting and reliable."

In summary, then, it's fair to say that the sE range has been a hit over at Real World…

"Whilst both the Gemini and the z5600a are both great work-horse mics," says Dom, "I have had experiences where they are just better suited to a certain singer than some high-end vintage valve mics. I've seen this happen on other people's sessions as well. They just suit some people's voices better than any other mic."

"They're easy to position and have all of the on-board options you'd need to do a good job, like roll-off filters, pads and changeable polar pattern," concludes Marco. "The package was just right: good quality mics, solid build, a selection of useful and lasting accessories and a decent aluminium case for each mic or pair. Add this to a competitive price, and you've got an easy decision in your hands. I particularly like the tone of the SE2200a - it's hard to find another mic in the same price range that could deliver a better performance."

Marco is currently producing the band The Moonfish (see their page at www.myspace.com/themoonfish) with a lot more production and mixing work lined up for 2007. Dom also has lots of work lined up at Real World: "plenty of things to do and lessons to learn!" he says.

*ends

Marco's recording and production philosophy:

"As a recording engineer, I strive to put musicians at ease. I enjoy becoming a friend and I commit to understand what makes them write and perform exceptional music, and then set out to create an ideal environment. Music needs the right space, the right mindset, the right time of the day, the right people to stand a chance to blossom and thrive. It's the engineer's performance that brings it all together, not only technically but also, and more importantly, at a human level."

On production: "I respect the author, and I work to give his/her music a chance to deliver its message. I only suggest ideas when the music seems too bare, and it feels like it needs more help. I enjoy working on the sonic content to setup a vibe and to help choose a tempo. Arrangements are also crucial and can radically affect a performance, which is something I enjoy working on right from the start. Once everybody is happy with tempo, arrangement, key and general mood, the recording is typically a formality, and at this stage more sonic experimentation can usually take place."

Dom's recording philosophy

"I guess that my philosophy is to serve the music as best as I possibly can. The trouble is that no one approach is applicable to all situations. Sometimes you need to interfere as little as possible, and sometimes you need to really get stuck in and mess with things. The trick is to know what you need to do when, and to remember that sometimes what you need to do is nothing."

Rob Harris - Jamiroquai

Wed, 06 Dec 2006 00:00:00 +0000

Rob Harris has played guitar with some big names including Kylie Minogue and Beverley Knight and now plays with Jamiroquai. He's also been pushing sE's Reflexion Filter to its limits, with some great results…

Rob Harris has been busy since 2000, touring, writing and recording with Jamiroquai. He has worked on the band's The Funk Odyssey, last year's Dynamite and the recently released High Times singles collection.

As part of his latest studio set-up, Rob decided to stock up on mics including an sE Z5600a, but it was another sE product, the Relexion Filter that has become even more useful…

"I'd seen lots of good reviews and articles on both the mic and the Reflexion Filter," he says. "The Filter is a great idea, so simple but useful. It gets used whenever I get to work in my own studio on vocals, acoustic guitars, electric guitars, percussion, hi-hat overdubs and so on."

"The Reflexion Filter is so useful if you're working in a less than perfect sounding room, keeping down any unwanted room colouration. It's great in that it's portable and can be used in different situations for different instruments too. I've taken it out on vocal sessions at other home based studios, getting results to match my own recordings."

"These days I also get asked to do sessions over the net, so I get tracks sent to me as stems. I then record at home and send the files back. In this situation I can't be sending parts back that have been recorded badly i.e. ambient, boxy acoustic guitars, so the Reflexion Filter is a godsend to have."

"It simply means I can record knowing I can trust what I'm hearing back a lot more. We don't all have the luxury of an acoustically treated room to track in these days, but now we're getting closer to getting the same results."

"Well done sE! I wish I'd thought of it first, as do many others I guess!"

As for the future, there's a new Jamiroquai album to look forward to…

"Yes, hopefully Jamiroquai will get back in the studio mid way through next year," reveals Rob, "but between now and then I'm going to be working on some music with a couple of guys from the band just for fun. I'll also be doing some sessions for other artists and I'll be working with a few other singer/songwriters at my place too."

"I've also recently managed to fit a funky old drum kit in my room so I can't wait to put the Z5600a to more use!"

Jim Lowe - Producer and Engineer

Thu, 19 Oct 2006 00:00:00 +0100

Jim Lowe is a top producer and engineer who has worked with some massive bands including the Charlatans and Stereophonics. With these twin successes, there was only one pair of mics he could use, the sE Geminis…

"I got into music because I love it, and feel it's running in my blood," so says Jim Lowe, so it was no surprise that he ended up working in the heart of the music industry where contacts with some of the giants of the scene were made…

"I trained as an engineer at Nomis studios, eventually went freelance and started doing some live mixing as well as studio stuff," Jim explains. "I ended up mixing some live stuff for Stereophonics. They seemed impressed with me because I then went on to engineer their following album You Gotta Go There To Come Back. That then led on to producing, along with Kelly Jones, the following album Language. Sex. Violence. Other? which spawned the number one single Dakota."

The album put the band very much back on the rock music map and its success has meant that they have spent a huge part of the last year on the road on a massive world tour from which the recent live album Live From Dakota was recorded. Jim has been hugely busy as well since the success of Language. Sex…

"I went on to produce the most recent Charlatans album Simptico and, most recently, I have just finished working a band called The Servant."

Luckily with his work with Stereophonics and the extra work that that success has helped generate, Jim now has some quality tools for recording, including a pair of sE Gemini microphones.

"I bought them because I just heard on the grapevine there were these valve mics called Gemini that were great value and sounded great. I've been using them as overhead mics and as room mics on drums, which I did on the last Charlatans and Stereophonics albums. I have also used them on vocals. They have a reasonably bright edge, but a great clarity. They are a terrific value valve mic. They have added another sonic dimension to the sound already in my head."

As you might expect the future is just as busy for Jim. There's a "forthcoming Stereophonics record and my own music." And just maybe "some time off and a holiday." Here's hoping!

Jim's top recording tip

"Just record and mix music the way you hear it. There's no written rules, everyone has got their own ears and taste, so mix it until you like the sound of it, and trust yourself."

George Michael, Cliff, Take That and sE!

Wed, 06 Sep 2006 00:00:00 +0100

Chris Porter has worked with the biggest and best vocalists in his 26 years in the business including Tina Turner, George Michael, Take That and Sir Cliff Richard. So which microphone does this most experienced of engineers take into the studio to record the best vocals? The sE Gemini…

"I started off engineering for Tony Visconti at Good Earth studios in London," remembers Chris Porter as he looks back over his 26 years in the music business. Then he adds, far too casually: "Not long after that I met up with Wham! and worked on all of their early records and went on to work with George Michael for 14 years. It was engineering and production, all the big hits, Careless Whisper and Wake Me Up - everything really. I then did Take That in the 90s and had a nice big hit with Back For Good. I'm currently working on the tour DVD, doing the audio for that. I'm recording the Manchester gigs and we're going to make it from those two concerts."

So in the space of 30 seconds we find that Chris Porter has worked with some of the biggest names in pop! But it doesn't end there…

"I produced about half of the Discography album for The Pet Shop Boys and am currently working on an album called Story Man with Chris De Burgh. I'm also working with Cliff Richard doing a duets project with him. There's also Hall & Oats and Tina Turner…"

It's fair to say, then, that Chris has been around the biggest names in music, and all helped by that early intro to Messers Michael and Ridgley…

"I've worked with a lot of people but I guess I was very fortunate to do that stuff with such a high profile act like Wham! and George Michael," he agrees. "It opens a few doors and brings you to the attention of quite a few people and you rub shoulders with stars all the time. I did a lot of live work with George and hanging out in LA you meet people."

And having recorded the best, Chris surely knows a thing or two about microphones and his new first choice model is the sE Gemini…

"I immediately tried it out on some guitars and was very impressed," says Chris. "I've since recorded some vocals with Cliff and he sounds fantastic, it suits his voice perfectly. It's a lovely warm, crisp sound that it's got. I was impressed with the construction as well. The units look really well made and solid. The sound is really, really good. I'm waiting for the opportunity to try others in the range."

And sE don't just make microphones. Chris is lucky enough to be one of the first producers to try out the company's Reflexion Filter…

"It's very effective," he says. "I was recording a band at Metropolis and they've got a very large live area there and I was using the Reflexion Filter on the guitars to contain them. You do get a really good image and it takes out a lot of the background reflections so in that situation I found it very useful."

"I also use it in my vocal booth. Generally so you can see the vocalist you have them standing not very far from a glass window and, of course, you are getting bouncing sibilance back from the window into the mic and it can give you really blurry s's and t's. The Reflexion Filter cleans those up nicely and I find it also helps control the bottom end; you get a really good bottom end on the vocal. It really does make it sound like you have a very expensive booth. Such a simple idea!"

Finally, after having worked with so many top stars, can there be anyone left that Chris wants to work with? Oh yes…

"Yeah I'd probably be willing to lose a couple of legs to work with Stevie Wonder!"

Chris' Top Production tip

"I think you have to reasonably calm, you've got to be unflappable and try and maintain a happy and co-operative atmosphere."

Darryl LaVictoire

Tue, 01 Aug 2006 00:00:00 +0100

Darryl LaVictoire has recorded and mixed all sorts of tracks, from Craig David to gospel choirs, from London-based soul diva Hill Street Soul to Lion King singer Brian Temba. Lots of amazing vocalists but just one amazing mic, the sE Gemini…

"Music is in the bones when you come from the Caribbean," says Darryl LaVictoire as he explains how both he and childhood friend Dexter Simmons have ended up with such successful careers in the business. "Dexter worked on Michael Jackson's last album and has also worked with Destiny's Child, Outcast and Brandy, to name a few. When Dexter came to London to go to the School of Audio Engineering he stayed at my flat and inspired me to do the same course and get into engineering. I basically followed in his footsteps."

After his engineering course, Darryl spent six months in a studio in New York. "The music I like is R&B / Hip Hop and I wanted to see how the Americans did it." He then came back to London to work at Mayhem Studios off Tottenham Court Road and eventually started work with remixers Blacksmith, Ignorants and Steve Antony.

"I was very busy at the time. Whenever a pop record was about to be released, labels would almost certainly allocate the urban remixes to either Blacksmith, Ignorants or Steve Antony so I was engineering every week. I've since mixed tracks for Sugababes, Blue, Misteeq, Big Brovaz, Liberty X, Beverley Knight and Atomic Kitten among many others. Ignorants produced most of Craig David's album, Slicker Than the Average and they called me in to engineer on a few tracks including the hit single What's Your Flava."

Darryl has now worked with some huge names, but over the years he has also had his fair share of bad vocal recordings!

"I get stuff that is already recorded and the worst thing is to get vocals that sound terrible. But then I met producer Troy Antunes, (bass player for Justin Timberlake). I asked him what mic he was using as his vocal recordings sounded so good, he then told me about his sE mics. It was refreshing to hear a vocal recording that was so clean and warm."

"I'm amazed by the clarity and the top end of the Gemini mic and very impressed with the sound directly from it. It actually sounds like it's already been treated, that's how good it is. I think: 'hang on, this is like I've put it through my tube tech compressor and Avalon EQ', but it's straight from the mic! The Gemini is very special."

Darryl is currently using the Gemini with artists as diverse as Hill Street Soul ("she's had rave reviews in Billboard and Blues & Soul and she's going to be big"), the 4 Kornerz gospel project and on Brian Temba's album (the lead singer in The Lion King Musical). Brian's voice is incredible, his register is quite high and could be tricky in some circumstances, but the Gemini made it sound so warm, lush and perfect…

"What I also like about the Gemini is that the sound is just there, you don't have the option to roll off any frequencies because you don't need to, with the Gemini you switch it on and it's ready to go. Also, the presence and detail in the headphones is very distinctive compared to any other mic. That's so important because when a singer can hear themselves clearly they give a much better performance. One of the worst things on a session is an unhappy vocalist, but that outcome is not possible if you have a Gemini.

Darryl's reputation is such that he is constantly in demand. "People come to me for what I do - my work speaks for itself. "Later this year I am working with Ali and Wayne Hector (who wrote Westlife's, Flying Without Wings) and also on Fundamental's new album."

And you can bet that the sE Gemini will be traveling with him...

Steve Williams - The Chapel Studio

Sat, 20 May 2006 00:00:00 +0100

Steve Williams has worked with everyone from Britney Spears to Eric Clapton and now runs The Chapel Studios. It's a high quality facility with a team of engineers who have worked with the biggest stars out there. Steve is a big fan of sE mics and Waves software, as he explains…

Steve Williams is the owner of the amazing Chapel Studios, a superb facility in Wimbledon, London that boasts the finest studio hardware and software plus a roster of engineers and producers who have worked with some huge names in the music industry, including Sting, U2 and Kylie Minogue. Steve's own CV is as varied as it is long, but his musical career started more classically…

"I started off at nine learning piano and drums," he says. "I went to the Royal Academy Of Music and studied orchestral music and eventually went on a jazz and rock course at Guildhall."

After that, his career turned the first of many corners…

"I came out of Guildhall and I'd heard that you might land something if you answered ads in Melody Maker. It was one of those things. I answered one looking for a drummer and it turned out to be Midge Ure and I went on tour with him around the world! With him, I ended up having to learn a whole host of things: bodhran, accordion, guitar, penny whistle…"

This led Steve to a career in pop as MD for various touring acts of the time…

"I played with a lot of the Stock, Aitken and Waterman people like Rick Astley and Kim Appleby and more recently I was Lisa Stansfield's MD and toured with her. I also did a couple of albums with Midge way back."

Steve also worked in film music working on From Hell starring Johnny Depp and Britney Spears' Crossroads. He also played with Sting and Eric Clapton but as his production and programming experience grew, so did his interest in putting together his own studio so his own project studio eventually moved and became The Chapel Studios…

"The Chapel is a bespoke building built from below the ground and has arched windows, very chapel like. We've only been going two years. Here we've had mostly new acts who really look set to do things. We've recently had Kenneth Johannson, Sharon Gosler and a great singer called Pierre. We've done a lot of video games too, lots of voiceovers. We did X3 Reunion and today a voiceover for Whirlwind Of Vietnam. We're not Air or Abbey Road but The Chapel Studios is a great studio - we're getting lots of people through the door."

Software wise, Steve is on the crest of the Waves effects having immersed himself in the best this range has to offer…

"I'm really impressed with the Waves stuff," he says. "It is amazing and has become the essential tool for my studio and it is very easy to use as well. I've bought a Platinum bundle and am going to buy the Diamond bundle. I like to use the Doubler which doubles voices - it does a fantastic job. The MetaFlanger is brilliant too for effects and chorusing. I have also got Vocal and that looks like that will be amazing too. The Renaissance compressors are fantastic for things like vocals and then there are other effects like the Stereo Imager, a tool I've never had before, and it's really handy."

On the mic side of things, Steve has chosen sE for dedicated studio tasks…

"The point about the sE3 is that, because it's not hugely expensive, I can dedicate it to one job. I find it really works on cymbals, not because it has a boosted high end but it takes the high end and gives it some real clarity especially on my ride cymbal. It just stays there and does the job brilliantly!"

And talking of dedication, Steve has one last tip for any budding producers out there - on top of using the finest effects and mics, of course! "It's basically down to what you hear, but putting the time in to a project really pays off. That last 10 percent you put in will often give you that extra bit of soul that you thought was missing from your production."

Graham Pattison

Wed, 03 May 2006 00:00:00 +0100

Graham Pattison has been Front Of House engineer for many bands and spent years with Kula Shaker and, more recently, Gomez. When it comes to recording, there's just one mic that Graham takes into the studio, the SE Gemini…

Graham Pattison is a freelance sound engineer based in Paris who has worked with a host of big bands and artists. For years he worked as Kula Shaker's Front Of House engineer and when the band reformed recently they asked him to work with them at their reunion gigs…

"The gigs were really good," he says. "I didn't know whether to get involved again to be honest. It was kind of like going out with an old girlfriend! I turned up and mixed the first show and it went great."

Graham has a long list of other bands on his CV too. "I've worked with Spiritualized and, over the last couple of years, I worked with Gomez who are now very big in America. I also work for Joseph Arthur who is a New York based singer/songwriter rising to acclaim right now. I also release my own music which is a kind of contemporary English folk."

And for that music he enlisted the help of a couple of old friends from Kula Shaker: "When the band broke up the bass player and drummer became really good friends of mine and I used them on my album and Joseph Arthur also needed a band so they toured with him around Europe. Kula Shaker's rhythm section became his rhythm section!"

For years now, Graham's brand choice of microphone brand has been sE Electronics, which came was a result of sE's policy where they let you to try before you buy…

"James Young from sE sent me a load of mics to try and I bought all of them!" he remembers. "What I really wanted was something like an old 60s Neumann U67 or FET 47, that kind of thing, but they are so expensive to buy. I wanted something specifically of that quality, a really nice condenser. James told me about the Gemini, especially how good it is on acoustic guitars and vocals, and then how much it was going to be… and I honestly thought it wouldn't be any good for the price. In fact I thought it would be impossible for it to be any good! But when it came through and I started using it I was really blown away and have used it on everything since. I also use a Z5600a for tracking other artists backing the lead."

"I use the Gemini on main vocals a lot. It's also really good on any string instrument. I'd say it's very warm and very flattering; a very nice warm and dense sound that I really love in a mic."

It's a busy time for Graham and the future looks just as hectic. "Gomez are just about to release a new record which is going to be really good and I'll be doing the live sound on that. sE have just launched their new H1 which I've yet to try out, but I'm looking forward to getting my hands in that too… it's a stage condenser that should be great for live vocals/drums/guitar cabs etc… we'll see!

I work with a lot of French bands as well. I've just produced a band in London and used all sE mics with them. I've also recorded a French singer (Elista
Joseph, d'Anvers and Herve Paul) with a Gemini and have also just done a film soundtrack on which I only used the Gemini for the whole thing."

Which proves that not only is Graham in demand but the Gemini is a great all rounder too!

Stereo sEs and Stereophonics

Wed, 26 Apr 2006 00:00:00 +0100

By a chance meeting, Javier Weyler went from being an audio engineer to become the drummer for one of the biggest bands in the world! Now he's brought his audio expertise into the Stereophonics fold so that both he and the band have become big sE mic users…

Javier Weyler was born and raised in Venezuela and was surrounded by music from a very early age. He started playing drums at the age of 13 and spent nine years in a band releasing two albums. In 2000 he moved to the UK to further his knowledge about audio engineering and started working at Sahara Sound as an assistant engineer. It was there that a life-changing meeting took place…

"I ended up meeting Kelly and Rich from Stereophonics," he says. "They came to the studio to work on demos for You Gotta Go There To Come Back. We became friends and I ended up playing percussion on that album. In March 2004, the band came down to the studio again to work on the demos of the next album. I started playing along with them - it was a very natural process."

Javier eventually became a fully paid up member of Stereophonics and now uses his expert knowledge to spread the word about his mics of choice… "I have a couple of sE Z5600a's and a pair of sE3s. I use them for everything, especially the Z5600a's which I use for guitars, vocals, overheads, drums and stuff like that. The Z5600a is a great all rounder as you have the polar patterns: omni, cardiod and figure of eight so it's very versatile and you can use it for several things. And I love the fact that it's a valve mic so it's very warm. I've been using it from recording vocals in my bedroom up to putting it in front of my kit. A lot of dynamic range to put up with! It's a good package as well, as it comes with the case and all the accessories so you can take it anywhere with you."

Javier is so impressed with his sE mics that he has become something of an evangelist for them, persuading other drummers and even the Stereophonics engineer to use them… "I fell in love with them as a good all rounder microphone and have recommended them to lots of different people. Jim Lowe, our engineer, bought a pair of sE Geminis. We used them as a pair of overheads for the album Sex, Violence, Other… and they were great. The vibe was really good and they captured the drum kit sound really well - very natural and roomy. The majority of that album was done using the Geminis."

And Javier uses them for recording his own music and that of a band back home too… "I am writing my songs at the moment. I have a production company with a friend of mine who's an engineer and we've been recording a band in Venezuela and using sE for the overheads and the room mics and they work great for us."

What with his music, his Black Beans Music production company, the new Stereophonics live DVD ("as a way of celebrating 2005 with all the touring - hopefully everyone will enjoy it as much as we did making it, " he says) and a new album planned for later this year, the future looks incredibly busy for Javier and his sE mics…

Morcheeba choose sE above the rest

Tue, 25 Apr 2006 00:00:00 +0100

As Morcheeba's engineer, Chris Harrison is responsible for the band's unique, characterful and lush sound. It's a sound that demands the best vocal recording which, in turn, demands the best mic. So what does Chris choose above far more expensive alternatives? The sE Gemini…

When Morcheeba first signed their major record deal they decided to spend the advance on a studio and also hired a couple of engineers. One of those was Chris Harrison…

"I went straight into an assistant engineer's job which happened to be at Morcheeba's private studio," he says. "They said they needed someone enthusiastic which I'm good at and that was that. I went quite quickly on to being the main engineer. I didn't really know what I was doing and had to learn very quickly indeed but the record sold close to a million copies!"

In fact the first album, Who Can You Trust? did so well that Chris remained with the band, gradually becoming more integral to the Morcheeba sound…

"I've done four records and co produced and engineered the last record which has done well. They've gone through a few changes and have a new singer now so it's kind of a restart for them."

Replacing the original singer, Skye Edwards, was obviously a huge decision for the band. They hired Daisy Martey for the album The Antedote and the recording of her vocals was a crucial element, especially given that she was following such a big act. The decision over which mics to use was therefore a massive one for Chris to make…

"Daisy has a very slick, powerful and thick tone and I was like: 'what am I going to use?' They had a few suitable mics available: a four and a half thousand pound Sony C800G, a Neumann M147, A Royer R121, EV RE20 and a Beyer M160. I tried these various mics on her and they just weren't really working. Morcheeba always write the songs before we record and I recorded a demo of them so the band could listen to the tracks and go away with them before the main recording takes place. I used the sE Gemini valve mic for that whole demo. I'd just got the sE so decided to give it a go on the demo and to try it out on her. For the record we tried out all these more expensive microphones but we kept coming back to the demo vocal sound, which I was really happy with. It just worked really well with her voice…"

So after having beaten off the more expensive competition, the Gemini has become a firm favourite. "We've got the whole sE range but I primarily use the Gemini," says Chris. "What I like about it is that it has a bump around 2k and another bump on the top end so it has an immediate feel about it and you will know straight away whether it's working. Some mics you will need to adjust this, that or the other. The Gemini is a very characterful mic and generally sounds very good on most things."

And it's not just Morcheeba who have benefited from Chris's expertise and sE mics… "I've also used the Gemini on Marlon from Mattafix, MC Mello and Will Young," he says. "I've got into writing and producing and doing different projects and I mixed Cibelle's last record which I'm particularly proud of. I'm assisting Paul Stacey in his studio and I'm getting right back into miking techniques and mixing. I've just assisted him on mixing the new Black Crowes record, we did The Kooks debut Eddies Gun, Oasis, the genius Texan, Robert Harrison and probably my favourite band right now, The Noisettes. My new project is called the Sound Makers and we're currently doing a new record kind of like hip hop with a bit more music. There are so many little things I do - I never stick on one thing!"

He might not stick to one thing but Chris does have a single studio philosophy that has stood him in good stead over the years. "Use your ears," he states. "Don't touch anything before you use your ears. A lot of people use the buttons before they actually listen."

And you could add to that: 'don't always assume the most expensive mics are the best for the job'?

"Yes but with the sE mics it's more than just value for money," says Chris. "They are far better than that…"

Roger Lyons - Manchester Rocks!

Thu, 20 Apr 2006 00:00:00 +0100

Roger Lyons is at the centre of the Manchester music scene engineering with New Order and producing a supergroup featuring Hooky, Andy Rourke (The Smiths) and Manni (Stone Roses and Primal Scream). He's even getting Liam Gallagher involved in his latest project and when you're working with the best musicians, you need the best microphones…

Meet Roger Lyons, a man very much at the heart Manchester's music scene. Name a famous band or artist from the area and the chances are that Lyons will have either worked with them or plans to! Roger first found fame with Justin Robertson as part of Lionrock in the 90s…

"I prefer to think of Lionrock as being 'on hold'," says Roger. "Me and Justin are still friends. We had a really good time doing it all… in the studio and on tour. Good times!"

After Lionrock, Roger got involved even more in the production side of things and produced Olive's second album before setting up his production company Major Tweaks UK. He has since worked with Ian Brown, FC Kahuna, the Bee Gees and Heather Small, but his pet projects are both New Order and supergroup Freebase, which counts Hooky, Manni and Andy Rourke among its members…

"We've done about 17 tracks but not one has a completed vocal yet as everyone has commitments and they all overlap," says Roger. "Liam Gallagher is going to do the vocal on one and Pete Wylie on another while Howard Marks is going to do a reading of one of his works over one. It'll probably be finished by 2025!"

While Roger awaits the vocalists at least he knows for certain the mics that they will be using as he's fallen in love with the sE range…

"Like a lot of people I was quite sceptical about the whole Chinese thing which is really unfair," he recalls. "When I was a kid people were the same with Japan and now look at it! I'd been speaking to a guy one day who was saying how much he liked this Gemini mic and I thought it was a US company. I went down to my local Sound Control and asked to borrow one and took it home to play and fell in love with it straight away. It sounds ace. I've used loads of mics over the years and this has its own character and puts a sonic imprint on whatever you are doing with it, but at the same time whatever I've done with it sounds great and I wrote an email to sE to tell them so!

"I've just been using it on the soundtrack for Cracker with Steve and Gillian from New Order. I used the Gemini to record a string quartet. sE sent me a load more mics on loan to see what I thought of them and I like pretty much all of them. They are really good mics and blow any old stigmas against Chinese manufactured mics away."

"I'm getting another Gemini as I like it so much but also have a pair of sE3s (which you can use for pretty much anything) and Z5600a's which I use for ambient drum recording. They sound great - really warm and crunchy. I've mainly been using the Gemini on vocals; it really does have a fantastic sound. I can sing but don't particularly like to… I wouldn't stand up on stage and do it, but I've done some vocals with this mic and all of a sudden I have some confidence back in my own voice as it sounds so good!"

It's hard to know where Roger finds the time but he is also working with a Portugese band Lotto who are set for big things and his own band Circus Girls "We don't have a deal but it's on iTunes and selling well. It's the sum of all our influences, Glam Rock, electronic, Beach Boys with a contemporary twist."

…with projects as varied as Roger's it shows just how flexible the sE mics are!