I recently got the chance to test out sE Electronics’ BL8 Boundary Layer Microphone, which is optimized to capture a kick drum’s round warm tone and more. Built like a tank, the rugged BL8 incorporates sE’s renowned sE8 cardioid capsule.
Under the Hood
Mounted parallel to the boundary surface, the sE8 cardioid capsule offers a hemispherical/half-cardioid pattern with excellent off-axis response. The 1/2” handcrafted, true condenser capsule utilizes a 3-micron gold-sputtered diaphragm for excellent transient response. Designed to accurately reproduce low frequencies, the BL8 has a wide 20-20,000 Hz frequency range with a slight rise at 8k to capture detail. In many situations, the BL8 eliminated the need for an additional outer kick drum mic.
The interchangeable capsule is secured with a metal bracket and surrounded by three metal posts so that even if the mic gets stepped on (yes, it does happen) the capsule is well protected — see cutaway view in Fig. 1. A dent-proof steel mesh grill backed by foam for wind protection covers the capsule.
Integral low-noise electronics deliver transparency and clarity while transformerless Class-A circuitry ensures plenty of headroom without distortion. A three-position attenuator (0, -10, -20 dB) can be engaged to prevent exceptionally loud sound sources from overloading mixer preamps. Like most studio grade microphones, the BL8 requires a full 48V DC at 5.0 mA phantom power.
Two selectable low-cut filters (80, 160 Hz) can be used to tailor response for a wide range of live sound and recording applications.
Finally, a “Character” switch offers “Classic” and “Modern” voicings. When engaged, these options cut and shape the low-mid frequency range to emphasize a kick drum’s transients and punch. With the switch in the “Classic” position about 10 dB in the 600 Hz range is scooped while the “Modern” position scoops a bit more at about 800 Hz allowing you to attenuate some of the unwanted boom while keeping the desired round warm tones. In the center position, the capsule’s response is unaffected making the microphone ideal for non-kick drum applications.
Three small switches are used to configure attenuation, low-cut and “Character” (see Fig. 2). The switches are recessed in the microphone’s base to protect them from inadvertent changes and sE thoughtfully includes a tiny screwdriver for setting them, although any small, pointy object will do the trick.
On the rear of the all-metal enclosure is a standard 3-pin gold-plated XLR-type connector. I prefer this to the miniature 3-pin connectors used on some boundary mics, as it offers a robust connection and there’s no special cable to lose or damage. The BL8 weighs in at over a pound and has a thick rubber pad to keep the mic from slipping on flat surfaces, while two keyhole openings can be used to mount the microphone to a surface.
The BL8 is also compatible with the popular Kelly SHU Flatz Isolation System (kellyshu.com). This combination allows easy and secure mounting of the BL8 inside a bass drum shell, providing superior isolation while minimizing unwanted vibrations and rumble.
The BL8 includes a soft padded storage pouch along with the mini screwdriver, multi-language user manual and two sE stickers for your gig case.
Out of the Box
sE sent me a pair of BL8 mics along with a pair of the optional sE8 Omni capsules (street: $209/pair). I like the fact that sE is environmentally conscious, using recyclable packaging materials. Right away I could tell these were robust mics with excellent build quality and had no worries about any abuse a drummer may heave on them. In my studio, with a friend playing my house kit, we experimented with the switch settings. sE recommends setting the attenuator to -10 dB for most kick drums. I agree, but for a light jazz player I would probably leave it out, with the roll-off switch set “flat.” We experimented with the “Character” switch.
The “Classic” position scooped out some of the undesirable tubbiness while the “Modern” position took a more aggressive approach a bit higher up in the low midrange.
Next, we switched out the capsules using the well-written instructions in the manual. After removing the grille, simply detach the capsule retainer and unscrew the capsule. Reverse the process to install the new capsule. While doing this, I noticed the high quality of the circuit board construction. For testing, I left one mic loaded with the sE8 omni capsule and one with the sE8 cardioid version.
Gig 1: The 80’s Power Pounder
I do sound for an 80’s band and their drum kit has no bottom heads. With a dynamic kick drum mic, I typically get a big “thud” with little tone. I used the BL8-Cardioid on a small foam pad about 2” from the drumhead. With the attenuator set at -20 dB and “Character” switch set to “Classic,” I could get some tone along with the desired beater smack. We tried “Modern” and moving the mic, but agreed he was more of a “classic” kind of guy. And regardless how hard he hit it, we did not clip the input.
Gig 2: All-Occasion Tribute Band
For this scenario, the bass drum had a hole in the front head, so I could easily place the mic inside the drum. I experimented with the “Character” settings, yet found that the Character switch in the bypass setting was ideal for this style. And — as this drummer played a bit more subtly — I could get away with the pad set at -10 dB.
Gig 3: Well-Rounded Jazz
As an experiment at a jazz gig, I swapped out the dynamic kick drum mic for my BL8-omni. By placing it midway between front and rear heads, I could get a pleasant tone with some boom. But once I set the “Character” switch to Classic, the desired tone remained, and the boom went away. I know that omni and live sound are an oxymoron, but in this case it worked.
Going Beyond the Boundaries
I tried the BL8’s for floor-miking four double basses at a symphony gig. I set one on a small foam pad between each pair of double bass players. With the attenuator and Character switches set flat, I engaged the low-cut at 80 Hz to minimize stage floor noise. Unlike the plate mics I typically use for this gig with their mini XLR connectors, having standard XLR connectors eliminated special cables. Plus, the weight and size of the BL8 kept them in place on the floor.
For many symphony recording gigs, the vocal soloists do not want to be miked. I plan to use a BL8 discreetly on the floor in front of them to capture their solos.
A podcasting friend saw the BL8’s and wanted to try one for her show. I lent her the omni version. For her application, I set the roll-off for 160 Hz and left the pad and Character switches in the flat position. Her comment was “the voices all around the table had a clear natural sound with minimal noise from people tapping on the table.”
The Verdict
The sE Electronics BL8 is leaps and bounds above other “plate-style” condenser microphones. Its rugged construction will take all the abuse drummers, actors and road crews can throw at it. Having a full-size XLR connector eliminates special cables prone to breakage. Its sE8 capsule has the warmth and richness to capture a wide range of instruments, while the “Character” switch lets users tailor the desired sound without having to use a lot of console EQ.
I see the BL8 as a go-to solution for kick drums and much more.
At a Glance
Solid and Affordable
Bulletproof and built like a tank, sE Electronics’ BL8 is a true condenser boundary microphone ideal for a variety of applications including kick drums and other high SPL sources.
sE Electronics BL8 Boundary Mic
PROS
- 1/2” true-condenser capsule
- Full-size XLR connector
- “Character” switch can tailor sound
- Rugged construction
CONS
- Might be too large for some applications
- Switches need tool to adjust
- Easy to lose tiny screw when changing capsules
SPECS
Capsule: True condenser
Polar pattern: Half-cardioid (Omni version available)
Frequency range: 20 – 20,000 Hz
Sensitivity: 25 mV/Pa
Max. SPL: 163 dB SPL
(w/-20 dB pad)
Equivalent noise level: 14 dBA
Low-cut filter: 80 / 160 Hz, 6 dB/oct, switchable
Pad: -10 / -20 dB, switchable
Power: 48 volts, 5 mA
Impedance: 60 Ohms
Output connector: XLR-M
Street Price: $249
MANUFACTURER
sE Electronics
CONTACT
