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sE Electronics sE4400 Large-Diaphragm Condenser Microphone

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The matched set of sE4400 mics includes a stereo bar mount.

With its classic vintage sound, sE Electronics’ $499 sE4400 large diaphragm condenser microphone — an improved version of the company’s earlier sE4400a model — captures a wide range of sound sources with clarity and precision. Incorporating a brass capsule with twin 1” gold-sputtered Mylar diaphragms, the sE4400’s smooth, wide 20-20k Hz frequency response, is reminiscent of traditional condenser mics. A slight rise at the top-end ads a bit of sparkle without getting carried away. Four selectable polar patterns (omni, cardioid, hypercardioid and fig-8) offer increased flexibility. In directional modes, the off-axis response is consistent across all frequencies, key for minimizing pickup of undesired sounds or reducing the potential for feedback on a live stage. With a sensitivity of 25 mV/Pa and a 13 dBA noise floor, the sE4400 can easily drive any console input or mic preamp. Like other true condenser mics, the sE4400 does require a full 48 VDC phantom power for proper operation.

Two selectable attenuation settings (-10 and -20 dB) allow the sE4000 to be used close-in on loud sources (amps, percussion and brass instruments) without overload. With the -20 dB pad engaged, the sE4400 handles 157 dB SPLs. Additionally, -6 dB/octave low-cut filters selectable at 40 Hz or 80 Hz minimize pickup of undesired LF noise.

A rugged spring steel wire mesh grill protects the capsule without affecting response, while the die-cast, all-metal housing is built for the rigors of the road. Four switches with sturdy metal toggles on the microphone’s front side allow access to pattern selection, attenuation and low-cut filters. Engraved labels for the switch settings are easy to read.

Each sE4400 includes a custom rectangular suspension mount with adjustable 5/8” x 27 stand mount. The mic secures to the mount via a locking friction collar around the XLR connector housing, while a sturdy thumbscrew adjusts the “tilt.” The mount’s open rectangular design centers the mic, allowing it to be used flat against a guitar cabinet or drumhead while providing exceptional protection from low-end rumble and footfall noise. The mount’s open face design allows easy access to the pattern select, pad and filter switches. Unlike other suspension type mounts, its elastic bands can be field replaced, and sE thoughtfully included a spare set of elastics, because we all know, sooner or later, some ham-handed stagehand will break one right before the big gig.

sE also offers $999 matched pair configurations, where each sE4400 matched-pair is rigorously tested, tuned in-house and sonically matched to ensure a virtually identical frequency response for balanced, consistent sound. Along with the two mics and suspension mounts, each matched pair includes an adjustable stereo bar and a custom-fitted case.

Out of the Box

I received a matched pair of sE4400s and set them up in my studio for an initial talk out test. I first noticed how compact these mics were. The build quality was rock solid, and the switches had a positive action. I liked the engraved function labels and the fact that the switch toggles were slightly shinier than the mic body so you can easily see what position they were in. In my studio, I connected a mic, applied phantom power and experimented with each of the pattern settings. I noticed the omni pattern was open and natural as expected, and the directional patterns sounded a little richer due to the proximity effect of my closeup talking.

I was concerned that the openness of the grille would make the microphone very sensitive to wind noise and plosives. But the double layer of mesh proved effective in preventing them. However, just to be safe, I would still use a foam windscreen for an outdoor gig on a windy day.

I especially liked the two levels of attenuation and the 40 Hz or 80 Hz roll-off filters. Having the attenuation choice is nice; likewise, having the 40 Hz low-cut let me minimize the unwanted low-end stage noise without radically wiping out desired low frequencies.

The compact rectangular suspension mount was a pleasure to work with. Being able to replace the elastic bands in the field is a plus. I especially like how the mic is secured in the mount. Along with the friction from the “gripper,” I noticed a small, raised ring on the XLR connector base that helps keep the mic secured in the mount while allowing it to be placed in any position — including upside-down and sideways.

Two sE4400 mics used on grand piano.

In the Field

Along with live sound gigs, this time of year I get called for choral group recordings. My first time out with the sE4400’s was a 100-person chorus with a string section. I used the sE4400s in a spaced-pair configuration with my field recorder. I selected the omni pattern and the 40 Hz roll-off position. The result was an open, natural sounding chorus with balanced strings.

I also used the sE4400s onstage for a holiday concert. As I only had one pair, I used them on the house Steinway D grand piano. I set both patterns for cardioid and as I knew the “D” could get quite loud, I engaged the -10 dB pads along with the 40 Hz rolloff on the low-range mic and the 80 Hz filter on the high-range mic. The compact suspension mounts made it easy to position the mics. With a slight EQ tweak on the piano channels, I had the piano sound I wanted, with plenty of headroom to bring it up on solos. I may have upset the drummer on this gig. He saw the sE4400s and said “I have those mics! They are my favorites! How come you didn’t use them for the drum overheads?”

The next gig was a swinging gospel choir. I mounted the sE4400’s on the stereo bar fitted to one of my big Matthews stands and configured them as an ORTF pair. As this church had a lot of HVAC airflow, I was concerned with wind pickup. I used some generic foam windscreens, which fit without getting in the way of the suspension mount. Even with the added windscreens, I captured the full range of the chorus.

On a livestream event, I used the sE4400s to capture some nylon string acoustic guitars. As one player moved around while playing, I selected the hypercardioid pattern to gain some additional working distance. For the second player, I miked his amp with the pattern set to cardioid with the 80 Hz low-cut filter. The compact mount made it easy position the mic. The result was a rich natural sound, with all the subtle nuances and detail of the guitars.

The Verdict

I had no concerns in using the sE4400’s in live sound situations and felt their sturdy construction would take any physical abuse thrown at them. The open mesh grille was effective at reducing pickup of air movement and plosives, but having an accessory foam windscreen would be desirable for outdoor gigs where wind is often an issue.

I appreciated the easy-to-read engraved function labels, which could be read even in low-light situations. Nothing is more frustrating than having a multipattern condenser accidentally set for “omni” because you couldn’t see the setting label or switch position.

The sE4400s were a pleasure to work with. Their compact size and robust suspension mounts made them easy to get in close to the sound source. They had an open, natural sound reminiscent of classic large-diaphragm condensers and having both cardioid and hypercardioid pattern choices were a plus on the live stage.

At a Glance

Clear and Precise

Offering versatility and a classic vintage sound, the sE4400 is a go-to choice for strings, drum overheads, guitar amps, woodwinds, brass, piano and more. And with its solid build quality, it’s as ready for touring as it is for livestream applications.

PROS

  • Great sound
  • Multiple polar patterns
  • Compact rectangular suspension mount
  • Pad and low-cut filter switches

 

CONS

  • No foam windscreen (for windy conditions)

 

sE Electronics sE4400

Stats

Capsule: 1” true condenser

Polar Patterns: Cardioid, hypercardioid, omni, fig-8

Frequency Range: 20-20k Hz

Sensitivity: 25 mV/Pa

Max. SPL: 157 dB w/20 dB pad

Equivalent Noise Level: 13 dBA

Low Cut Filter: 40/80 Hz, -6 dB/oct, switchable

Attenuation: -10/-20 dB, switchable

Powering: 48 VDC

Weight: 10.23 oz

Street Price: $499 each/$999 matched pair

Manufacturer: sE Electronics

More Info: www.seelectronics.com