₩ 1,000,000

Black Knight / SE Reflexion Filter Special Package -
'Moving Head' Condenser Microphone / Dual Diaphragm Capsule + SE Reflexion FIlter





The Black Knight

* Violet Design의 모든 마이크로폰들은 10년 워런티를 제공합니다.

* 정상적인 A/S를 받기 위해서는 제품 구입후 본사 웹페이지(http://violet-design.com/product-registration)에서 제품등록을 꼭 하시기 바랍니다.

 

The Black Knight는 단일지향성 컨덴서 마이크로폰으로, 라지 사이즈의 듀얼 다이어프램 캡슐을 장착하고 있으며, 디테일하고 원음에 충실하도록 디자인 되었습니다. 투명한 고역대와 부드러운 중역대, 평탄한 저역대를 지니고 있습니다.

위의 주파수 반응 그래프를 보고 The Black Knight의 대략적인 정보를 알 수 있겠지만, 마이크 사용의 실제에서는 룸 볼륨, 반사, 울림, 음원으로부터의 거리와 각도, 룸의 벽들, 외장 마이크 프리앰프의 인풋 임피던스와 전기적 타입, 마이크 케이블의 길이와 퀄리티 등 여러 요소에 따라 변화가 있을 수 있습니다. 사운드의 기본적인 것은 아티스트와 엔지니어의 노-하우라고 할 수 있겠습니다.

The Black Knight는 듀얼 다이어프램 라지 사이즈 트루 일렉트로스테틱 캡슐을 기반으로 되어 있습니다. 최고의 퀄리티를 지닌 6-마이크론 Mylar Film 액티브 다이어프램은 바이올렛 디자인만의 독자적인 금 혼합물을 입혔으며, 견고하게 만들어진 브라스 백플레이트에 장착이 되어 있습니다. 이는 빠른 반응 속도와 사운드 착색을 최소화 시키고, 더 좋은 저역대 반응을 보여주며, 큰 음압에서도 견딜 수 있도록 합니다. 최적의 성능을 위해 각 캡슐은 모든 요소들을 매우 신중하게 체크되어지고, 무반향실에서 측정 되어집니다.

단일지향성의 폴러 패턴은 스튜디오의 룸 앰비언스 노이즈를 효과적으로 감소 시켜주고, 앞쪽은 최적의 각도를 가지고 있습니다. 헤드 부분의 스위벨 마운트는 별도의 스탠드 등의 장비가 없이 마이크의 포지셔닝을 가능하도록 합니다. 마이크의 헤드 그릴은 브라스 메쉬로 만들어져 내부의 울림효과를 최소화 시키고, 고역대와 투명한 사운드를 유지시켜 줍니다. 만약 보컬에 사용한다면 스튜디오 팝필터를 사용하는 것이 좋습니다.

내부의 솔리드 스테이트 프리앰프는 가장 높은 퀄리티를 지닌 부품들을 선택하여 Class-A Fully Discrete Transformerless 전자회로를 기반으로 설계되었습니다. 이 회로는 하이스트 오디오 스탠다드로 디자인 되었고 평탄한 주파수 반응과 높은 다이나믹, 낮은 셀프노이즈와 매우 낮은 왜곡을 제공합니다.

The Black Knight는 안정적인 48V 팬텀 파워로 작동이 됩니다. 이는 외장 마이크 프리앰프나 믹싱 콘솔의 인풋, 외장 팬텀 파워 서플라이 유닛으로 부터 받을 수 있습니다. 어떤 제품들은 48V 팬텀 파워를 작동 시키더라도 48V보다 낮은 전압 또는 불안정적인 파워를 내보냄으로 오디오 디스토션이나 성능의 저하 등의 문제를 야기 시킬 수 있습니다. 마이크 사용 전 팬텀 파워 소스를 꼭 체크 하시기 바랍니다.

견고하게 만들어진 마이크의 구조는 스탠드의 울림, 외부의 저주파 간섭과 기계적인 충격을 효과적으로 감소시켜줍니다. The Black Knight는 기본적으로 마이크 스탠드에 장착 할 수 있는 홀더가 포함이 되어 있습니다. 특별한 경우 외장 쇽마운트를 옵션사항으로 선택 할 수 있습니다. 쇽마운트는 고급형인 VSMD-BK와 보급형인 BKS 두 종류가 있습니다.

특별히 주문 생산되는 The Black Knight 매치드 스테레오 페어 세트는 스테레오 녹음에서 밸런스를 제공합니다.

The Black Knight는 레코딩 스튜디오에 꼭 필요하도록 디자인 되었습니다. The Black Knight는 보컬, 피아노, 기타, 드럼, 퍼쿠션, 스트링, 관악기 등 많은 음원의 녹음에 매우 우수합니다. 프로페셔널 SR 시스템들, 브로드캐스트, TV 스튜디오, 영화와 비디오 산업, 프로젝트 스튜디오와 홈레코딩에서 적합하게 사용할 수 있습니다.

VOCALS
The Black Knight는 보컬에 아주 좋습니다. 3cm~15cm 사이의 거리에서 최고의 결과를 가져다 줍니다. 스튜디오 팝필터나 윈드스크린은 캡슐 다이어프램을 보호합니다.

PIANO
The Black Knight는 피아노에서 우수한 결과를 줍니다. 페어 혹은 그 이상의 마이크를 이용하여 스테레오 레코딩을 할 수 있습니다. 근접 마이킹, 원거리 마이킹, 여러 마이크를 조합하는 방법 등 많은 방법이 있습니다. 레코딩의 결과는 연주자, 피아노의 특색, 룸 어쿠스틱 환경 등의 여러 변수가 있습니다. 적절한 마이크의 위치 역시 가장 중요한 요소 중 하나 입니다. 가장 좋은 방법은 여러 가지 시도를 하여 귀로 듣고 선택하는 것입니다.

ACOUSTIC GUITARS
The Black Knight는 금속 재질의 스트링 어쿠스틱기타와 나일론 재질의 스트링 클래식 기타에 모두 적합합니다. 마이크의 적절한 위치는 역시 가장 중요한 요소 중 하나입니다. 마이크가 기타쪽을 향하게 하고 10cm 정도의 거리를 두어 넥에서부터 바디쪽으로 조금씩 이동해가며 최고의 자리를 찾는 것을 추천합니다. 페어나 그 이상의 마이크를 이용하여 스테레오 레코딩도 할 수 있습니다.

ELECTRIC GUITARS
The Black Knight는 다이나믹하고 밝고 깨끗한 앰프사운드, 공격적인 리드 기타의 오버드라이나 디스토션 사운드, 따뜻한 재즈톤의 레코딩에 모두 아주 좋습니다. 고역대를 얻으려면 라우드스피커의 중앙에서 5cm~10cm 사이의 거리를 두고 위치시키며, 풍성한 중,저역대를 얻기 위해서는 콘 엣지 쪽으로 마이크를 위치시키면 됩니다. 어느 한 부분에 마이크를 위치시켜 저역대 피크를 피해 거리와 각도를 조절하는 것이 좋습니다. 거리가 라우드스피커에서부터 멀어질수록 공간감과 룸 어쿠스틱, 부드러운 고역대가 첨가 됩니다. 근접 마이킹, 원거리 마이킹, 오픈 스피커 박스의 백사이드 마이킹 등 무수한 방법들이 있습니다.

DRUMS
The Black Knight는 빠른 반응속도와 투명하고 깨끗한 고역대를 지니고 있고, 높은 음압에서도 핸들링이 가능하여 드럼 레코딩 특히 오버헤드, 하이-햇, 스네어 드럼 레코딩에 매우 우수합니다. 드럼의 림에서 5cm~10cm 정도의 거리를 유지하는 것을 권장하지만, 여러 다른 위치와 각도에서 시도해 보는 것이 좋습니다. 거리가 멀어질수록 공간감과 자연스러움이 더 가미되며, 거리가 가까울수록 저역대가 증가하며 다른 음원들로부터 독립된 사운드를 얻을 수 있습니다. 오버헤드의 경우 매치드 스테레오 페어를 사용할 수 있습니다. 오버헤드만으로 드럼 킷 전체의 사운드를 녹음하거나 드럼마다 각각 마이크를 설치하는 방법 등 여러 방법이 있습니다.

PERCUSSIONS
The Black Knight는 대부분의 퍼쿠션 녹음에서도 드럼 녹음과 마찬가지로 투명하고, 깨끗하며, 생동감 있는 결과물을 얻을 수 있습니다. 25cm정도의 거리를 두고 위치를 찾는 것이 좋습니다. 가까이 댈 수록 디테일한 톤과 다른 음원들로부터 분리된 소스를 얻을 수 있으며, 거리가 멀어질수록 룸 앰비언스와 자연스러움, 다른 악기들과의 조화로움이 증가합니다.

BOWED STRINGS
The Black Knight는 모든 종류의 스트링 악기 레코딩에 있어 탁월한 선택이 됩니다. 바이올린과 비올라는 악기의 브릿지 부분의 위로 25cm~40cm 사이의 거리를 두고, 더블베이스와 첼로는 브릿지 앞쪽으로 10cm~20cm 정도의 거리를 두어 마이크를 위치시킵니다.

BRASS AND WIND
부드럽고 자연스러운 톤을 지닌 The Black Knight는 색소폰과 다른 브라스 악기의 레코딩에 최고의 선택일 것입니다. 클라리넷과 소프라노 색소폰은 혼과 가장 낮은 패드의 윗쪽으로 10cm~30cm 사이의 거리를 두어 마이크를 위치 시킵니다. 플룻은 악기의 중간 지점 윗쪽으로 자리를 잡으며, 트럼펫, 트럼본, 프렌취 혼, 튜바 등 다른 관악기에는 10cm~50cm 정도의 거리를 두고 마이킹 합니다.

OPTIONAL ACCESSORIES:

 
 
 

 

 

REVIEW

Joshua Homme - Violet Design Ultra-Precision Microphones

Musician/Producer Joshua Homme Using Range of Violet Design
Ultra-Precision Microphones on Sessions for Queens of the Stone Age, Eagles of Death Metal and Them Crooked Vultures.

"In studio gear, there are only 3 things that matter: Quality, Consistency & Quality. Violet is the best aspects of the vintage era merged with today's leading-edge electronics and mechanical design." Joshua Homme is the consummate studio performer. Whether working on his own productions, or in cooperation with the several bands of which he is a continuing member ? including Queens of the Stone Age, The Desert Sessions, Eagles of Death Metal and Them Crooked Vultures ? he chooses his creative tools very carefully. That he relies heavily on a basic array of Violet Design microphones is testament to this talented guitarist/producer's appreciation of craftsmanship.

“It seems a common idea to utilize a range of mics and gear, both old and new. Why any piece becomes “classic” in the vintage gear world is because it's time tested. In the case of new gear, I really appreciate equipment that has its roots in something classic, yet modernizes with a reverence. Respect for what was, mixed with a pride in your work today, makes for excellent sound. ” he states. “The Flamingo Stereo, Flamingo Magic Ear, Flamingo Vintage and Black Knight, I use regularly here at Pink Duck Studios" - the producers' personal-use facility in Burbank, CA - "are my go-to transducers. Ever since they've been in my possession, they've been on my sessions. When I have a session anywhere other than my own place and I'm bringing those 10 mics. I know if I do, I have no worries… My Violets are in there because I know they will work across a wide range of instruments and vocals.”

While Homme likes both The Flamingo Stereo and Flamingo Vintage for vocals, acoustic/electric guitar, bass and piano, they provide different ‘colors' for his productions. “The Magic Ear has a more ‘modern' top-end and pristine high-frequency response,” he offers. “It produces more air and a more 'elegant' high-end sound that is very useful on a track. The Vintage, on the other hand, is a little darker and a little more ‘colored,” which I like for a number of instruments.”

The Flamingo Stereo sounds great on guitar backline, Homme says. “I use one capsule close in to the speaker cone and the other pointed anywhere in the room to pick up a bigger, more ‘developed' sound. But The Flamingo Stereo is totally versatile & that design versatility has been a catalyst for experimentation. Trying to record instruments you know in ways you wouldn't have tried; I've yet to find a recording situation to not use it on! And the Black Knight, with its swiveling head and excellent rejection, has replaced my old faithful 421 on the toms and sounds great as drum overheads too. That swivel-mount head allows you make minor moves at the mic, without adjusting the stand. That's just recording experience applied to design and a respectful tip of the hat to any engineer. Smart move.”
Homme has used his Violets on the majority of recent sessions recorded at his spacious SSL/Pro Tools-equipped studio, including Them Crooked Vultures, the hugely successful CD offering from his new project with Dave Grohl and John Paul Jones, as well as offerings from Queens of the Stone Age and Eagles of Death Metal; he continues to produce and release a musical improvisational series with other musicians, mostly from the Palm Desert scene, known as The Desert Sessions. He also produced the recent Arctic Monkeys album at Pink Duck studios and Rancho De La Luna Studios in Joshua Tree.


“My Violet microphones offer a number of advantages for me,” the producer considers, “including remarkable versatility and pristine sound quality. In reality, they represent the very best of the Old School and the New School. Their design offers the very best of the vintage era, but with leading-edge electronics and mechanical design ? these Violets are beautifully built. I like a vintage tone, but don't want to buy somebody else's 50-year old headache. I sometimes wonder what other microphone manufacturers are thinking. In studio gear, there are only 3 things that matter: Quality, Consistency & Quality. There is no need to re-invent the wheel - just make a great wheel!”

The Flamingo Series are top-of-the-line vacuum-tube studio microphones designed for high-end quality audio recording. The Flamingo Stereo uses a side-address, dual-diaphragm electrostatic transducer tuned to provide a classical wide-spectrum vintage tube-microphone sound with extended top end. Flamingo Vintage is tuned to provide a sweet, warm vocal sound with high-frequency roll-off associated with vintage tube microphones. Flamingo Magic Ear uses an extra large ear-shaped transducer that provides a unique, resonance-free, warm and full vocal sound. The capsule's irregular shape eliminates circular resonances and reflections; the result is a warm, clean, more dense and natural tone without the typical round-capsule resonance effects. The Flamingo Stereo features an FET-based pre-amp with two large-diaphragm cardioid condenser capsules. Black Knight uses a large dual-diaphragm, side-terminated, condenser capsule that offers a natural musical sound with transparent highs, smooth midrange, flat LF response and a unidirectional cardioid polar pattern. The mic's phantom-powered Class-A pre-amplifier provides very high output, flat audio-response and ultra-low distortion and noise.





SE Reflexion Filter는 보컬이나 어쿠스틱 악기 녹음 시 불필요한 앰비언스, 노이즈 등을 최소화 시켜주며, 드라이한 사운드를 제공합니다.

녹음시의 반사되어 돌아오는 소리로 인한 명료도 손실, 위상의 변화, 음색의 변화, 특정 주파수대의 뭉쳐짐 등을 개선하는 등의 효과를 가져오며, SE electronics를 통해서만 경험할 수 있는 제품 입니다.

보컬, 성우 녹음, 어쿠스틱 기타, 바이올린 등 스트링 및 각종 어쿠스틱 악기, 일렉기타, 일렉베이스, 케비넷 녹음, 드럼 킥, 타악기 및 브라스 악기 녹음 시 사용 하면 큰 효과를 볼 수 있습니다.

위의 핑크색과 노란색의 두 라인은 울림이 없는 공간에서 같은 마이크 (sE2200a)를

Reflexion Filter를 사용하지 않았을때와 Reflexion Filter를 사용했을 때의 주파수 반응을 나타낸 것입니다.

두 라인을 살펴보면 1dB 미만의 차이를 보여줍니다.

이것은 다시 말해서 Reflexion Filter는

마이크의 원래 주파수 반응에는 큰 영향없이 자신의 기능을 수행한다는 것을 보여줍니다.


Test Data from an Independent Acoustic Lab
in Germany will be posted here once the translations are complete.

 

What is the Reflexion Filter?

The Reflexion Filter is basically a portable device for recording live sound sources with reduced room ambience. It is an advanced composite wall which is positioned behind any microphone by means of a variable position stand clamp assembly which ships with the product. The main function is to help obtain a ‘dry' vocal or instrument recording. This is especially useful in studios without proper acoustic treatment, but can also be used to help record takes in control rooms, where the performer also has to operate the recording device, or in rehearsal studios to reduce ambient noise.

The Technical Bit:

The Reflexion Filter has 6 main layers. Firstly, a strong layer of punched Aluminium which allows sound waves to pass through it, diffused, to a layer of absorptive wool. The sound waves then hit a layer of Aluminium foil which helps dissipate energy and break up the lower frequency wave-forms, and from here they hit an air space kept open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then pass to a further layer of wool and then through an outer, punched, Aluminium wall which further serve to absorb then diffuse the remaining acoustic energy.

The main absorber has 4 formed pieces of state-of-the-art specialist acoustic absorptive material attached to its face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they pass to the main filter.

The stand assembly comprises a mic stand clamp fitting, which attaches by means of a vertical joint to the horizontal bar assembly onto which both the Reflexion Filter, and any standard fitting shock mount can be fixed. The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the Reflexion Filter itself can be moved vertically to obtain the optimum working position.

How does it work?

The various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls and other surfaces so there is less of the original source reflected back as unwanted room ambience to the mic. The Reflexion Filter also helps prevent any reflected sound reaching the back and sides of the mic. Its shape and size have been carefully tested to maximize absorption while keeping ‘coloration' down to only around 1dB, and leaving the microphone's polar pattern unaffected.


In Summary:

All in all, it's a very clever and desirable piece of kit. It allows you to record vocals, guitars etc with a ‘drier' sound without having to have an acoustically treated room. It's portable. It uses state of the art materials. It works… and it's a fraction of the price of acoustically treating your studio environment!

   
STEVIE WONDER
‘I love the warmth, fullness, presence and the fat sound of the sE Gemini , and every studio should have an sE Reflection Filter . It's great for isolating sound and it's perfect for on the road.'

'The Reflection Filter is exactly what I've been waiting for.'
DON WAS
‘I am incredibly impressed by the seemingly contradictory combination of warmth, crispness and definition that was captured in the tracks by the
sE Gemini and sE Reflection Filter ....the songs we were working on had dense arrangements yet the sax cut through without ever sounding abrasive or disconnected from the rest of the track.....it was a beautiful, natural sound ­ we didn't even use any EQ !'

Bob Dylan, Bonnie Raitt, The Rolling Stones, Willie Nelson

CHRIS PORTER
‘I use the sE Relexion Filter 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. And I love the sE Gemini on vocals and guitars.'

George Michael, Sir Cliff Richard, Pet Shop Boys, Tina Turner

ROB HARRIS
' The Reflexion Filter is a great idea, so simple but so useful. I use it on vocals, acoustic guitars, electric guitars, percussion, hi-hat overdubs….'

Jamiroquai, Kylie Minogue, Beverley Knight

U2, Irish Legends Team up for "The Ballad for Ronnie Drew" using sE Gemini and Reflexion Filter

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.

They were using sE's award-winning Reflexion Filter and Gemini 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.

“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!”

The Reflexion Filter wins Best Acoustic Product Award for 2007 - January 20, 2008

sE Electronic's Reflexion Fitler beat tough competition to earn the Satisfecit Award for Best Acoustic Product at Satis 2007 in France.

The SATISFECIT award recognizes innovative products that solve problems, make daily work easier, and/or represent a dramatic improvement in cost effectiveness. Judges for the SATISFECIT award comprised a distinguished panel of French production, postproduction, and video professionals.

The SatisFecit awards, reinitiated this year to mark the 25th anniversary of SATIS, recognise the most innovative products on the market across three categories - Production, Post-production, and Broadcast.



A huge number of manufacturers, excited by this initiative, registered their products in this competition. From these entries a total of 51 products were short listed for the subject of careful study by the jury, composed of experts from the professional audiovisual community, and the public. From this final shortlist only 23 products were chosen for awards for demonstrating their innovation and competition to the highest possible level from the entire audio industry

James Young of sE Electronics says "We are extremely proud of this award. 2007 has seen us win a large number of awards for the Reflexion Filter , and sales now top 30,000 units. It is one of the most successful products in the audio industry during 2007, and sales continue to grow coming into 2008 as more and more people find it an invaluable tool in project studios, commercial recording studios, broadcast, voice over and many other areas.

He continues "it is a resounding endorsement of the Reflexion Filter that it is not only hugely popular product, but has also now gained the highest critical acclaim... a rare thing in our industry.

Chops Horns use sE - November 29th, 2007

Chops Horns is a group of music entertainment professionals with over 20 years of experience in the recording industry. They have an extensive background and have recorded for artists in every genre of music including R&B, Jazz, Pop, Rock, Funk, Rap, Hip-hop, Latin and Adult Contemporary. Chops has a distinguished discography with artists such as The Rolling Stones, George Clinton, Bob Dylan, Sting, Mariah Carey and Alicia Keys.

At a recent recording session Chops used the sE Gemini microphone with the sE Reflexion Filter :

"I really enjoyed using the sE Gemini microphone. I noticed that it handled the highs and the power of the trumpet well. It also handled the lows of the Alto Flute. It gave both horns a very natural sound, like the old school tube mics. " - Dave Watson of Chops Horns

Bonsai Music Choose sE - November 13th, 2007

Bonsai Music produce music for prime-time US TV shows and have their own artist roster and choose two sE favourites, Reflexion Filter and Gemini for their recording needs…

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 kick-started his career writing for the BBC a few years earlier due to “severe lack of income”. From tiny acorns do mighty oak trees 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 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....it's the only way to get the sound I'm after.”

“But the Gemini is so versatile, it's not only 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 just 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 ? it always does what it says on the tin, but so much more besides.”

Grammy Nomitated J Moss debuts at #1 with the sE Gemini - June 11 , 2007

J Moss is a Grammy-nominated gospel R&B singer based out of Detroit, MI. On his latest album, V2... The J Moss Project , he wanted to capture the most powerful and soulful tracks possible. That's why he chose the sE Gemini for all of his vocals! The album was recently released and debuthat ted at #1 on the Billboard Gospel Album charts.

Here is what his producer, Paul "PDA" Allen of Pajam Records, has to say about the sE Gemini :

"I've been recording and mixing for 17 years now and I've used a wide range of great mics that are usually very expensive. Not until now in my career as a producer/engineer have I experienced the best of both worlds: A fantastic, dynamic mic with incredible presence and brillance in its distinctive sound at a wonderful price. It allows for a natural sound without adding eq and has a very responsive diaphram without the need for adding heavy compression. Very plug & go friendly.

"I've used this mic on all of the artist I've produced in the last 6 months: Patti LaBelle, J Moss, Vanessa Bell-Armstrong, Dave Hollister, 21:03 on their new single "Still...", and of course my debut album (in stores fall of 2007). I thank sE for continuing to introduce high end products that work well with both professional and home pro studios. With the other list of technologies that I've used faithfully (Telefunken, Neumann, Sony) sE has become one of my favorites. The Reflexion Filter is a nice addition that will soon be a studio standard.

"Remember to use your gifts, talents & abilities beyond the limits."



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.

They were using sE's award-winning Reflexion Filter and Gemini 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.

“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 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,” 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!”

DOM MORLEY - AMY WINEHOUSE, MARK RONSON, GRINDERMAN (Nick Cave) THE FEELING, MORRISEY & LEMONJELLY.

Dom recently won a Grammy for his work on the number 1 Amy Winehouse album 'Back To Black'. He also recently engineered Mark Ronson's 'Version', the Grinderman (Nick Cave) debut album and The Feeling's award winning 'Twelve Stops And Home' to name a few - so he's a busy fella.

Reflexion Filter 'I recently used the RF while recording vocals at an artists house and it was the ideal solution. It's like you don't need a studio anymore. If I'm ever recording in a less-than-ideal acoustic I can just throw the RF up and all the problems are gone - I've got a clean and clear sound as if I was recording somewhere considerably more expensive.'

Gemini 'The Gemini kind of gives you the best of both worlds - it's got all the presence and mid-range clarity you'd expect from a valve mic, but with a really open and clear top end that you wouldn't expect. I'd normally be adding a bit of top when recording vocals but have found it's not necessary with the Gemini as it's already there.'

PRODUCER ROB AUBREY CHOOSES sE OVER HIS CLASSIC STUDIO GEAR ? “I HAVE NO HESITATION IN RECOMMENDING IT …”

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…” Pictures supplied Rob Aubrey and his sE selection

 

GEORGE MICHAEL, CLIFF, TAKE THAT AND sE!

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 be reasonably calm, you've got to be unflappable and try and maintain a happy and co-operative atmosphere.”

PRODUCER GARETH JOHNSEN 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 [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. 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.”

DISCOVERY CHANNEL, GIRL BANDS AND THE sE USB2200a!

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 [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 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.”

ROCK PRODUCER PETE MILES RATES HIS GEAR ON ITS PERFORMANCES RATHER THAN BADGE, AND CHOOSES sE EVERY TIME…

'

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 , a pair of Z5600a , 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 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.”

IT'S sE FOR JAMIROQUAI GUITAR MAN, ROB HARRIS

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!”

DOWNLOAD
* Black Knight & Wedge Review - Music Tech Magazine, June 2010 (PNG)
* Violet-Design Full Brouchure Download (PDF)
* The Black Knight Brouchure Download (PDF)
* SE Reflexion Filter User Menual (PDF)