Recording January 2022 - 67

snare drum and toms, and the sound is
quite similar. The V Beat did have a bit
of a low-end knock to the transient, especially
when doing rim clicks on the snare
drum, but I suspect that this is due to the
V Clamp putting it into direct contact
with the rim of the drum.
Despite any sound transfer, the V
Clamps are very useful, offering a wide
range of motion and positioning. However,
the first time I tried clipping them
to the drums proved to be a bit difficult,
as the plastic on the clip hadn't been
stretched out yet. Also, my Gretsch
drums use 302 Hoops which are taller
than standard drum hoops. Once I finally
got them on though, all was well. sE
suggests placing the V Clamp on the top
of the rim first, as clamping from bottom
up does have a bit of resistance.
The V Beat mics and the V7 X have a
rich sound with a nice warm low end,
smooth, natural-sounding mids and an
accurate non-hyped high end. Compared
to my old trusty Shure SM57,
the sE mics had noticeably more output
and a much richer low-end frequency response.
The SM57, by contrast, had its
famous high-mid boost. I preferred the
V7 X for lower tuned snare drums and
favored the SM57 ever so slightly for
higher-pitched and ringy snares.
The V Beats shined nicely on the toms.
I immediately noticed how much less
EQing I was doing than usual. Similar to
the V Kick, these mics just sounded very
well-tailored and mix-ready.
Shhh...
In addition to the above dynamic offerings,
the Club and Arena packs include
a matched pair of sE8 pencil condenser
mics featuring a thin (3 micron) handcrafted
gold-sputtered diaphragm designed
for a detailed transient response.
sE Electronics claims that the sE8 is one
of the quietest small-diaphragm mics on
the planet. I can't empirically confirm or
deny this, but these things are remarkably
quiet, with a ton of headroom. They
display a full, natural midrange and a
silky smooth high end. I was immediately
impressed with the lack of any mid
or high-frequency harshness to the cymbals.
Even when boosting the highs with
EQ later in the mix, they maintained a
natural and smooth sound. The sE8 offers
-10dB and -20dB pad options, useful
when close-miking cymbals or hi-hat;
it makes for a great, smooth, non-harsh
hi-hat mic. The sE8 also includes two
low cut filters (80/160 Hz) for reducing
low-end rumble and proximity effect
when close miking.
The sE8 sounds fantastic, and in addition
to drum tracking, it works well
on acoustic instruments, percussion and
more. sE also offers an omnidirectional
version for further options and sounds.
On the road
In addition to studio tracking, I also
had the opportunity to bring the V Pack
Arena set out on the road. All my previous
thoughts and opinions held true on
stage. My in-ear drum mix was fantastic,
perhaps even a little better than usual.
The V Kick in particular got positive
comments from the FOH engineer and
everything sounded great.
The singer I was backing forgot his
vocal mic on this particular run. Since
I play a four-piece kit, I used the third V
Beat on my snare and had him try the
V7 X on his voice since it's not too far
removed from the standard sE V7 spec.
We both thought it sounded great; it did
the job more than admirably as a vocal
mic. [funny, since we are reviewing the
V7 next month in our vocal issue, and
I've been using one on snare... -Ed.]
Decisions, decisions
The V Pack Arena ensemble is priced at
$1,179. The V Pack Club, which comes
in the same road case but with one less
V Beat mic and a pair of sE7 condensers
instead of the sE8, is priced at $939. The
V Pack Venue, which doesn't include any
condenser mics, is priced at $699. If you
already own one or more of these mics à
la carte, sE sells the case separately, so
you can build a pack as well.
Pack it in
Speaking as a professional drummer
and an audio engineer, I think sE Electronics
has scored a home run with these mics.
I have zero complaints about their build
quality, appearance or sound. Each mic
excels. With options for everyone, they
would make an excellent addition to any
microphone collection.
Price: $1,179 V Pack Arena; $939 V Pack Club; $699 V Pack Venue
More from: seelectronics.com
RECORDING January 2022 67
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Recording January 2022

Table of Contents for the Digital Edition of Recording January 2022

Fade In
Fast Forward
Soundware Showcase: Toontrack Fields of Rock SDX
A Family of Microphones Compared: The AKG P Series
Austrian Audio CC8
Stewart Copeland: Don’t kill the talent with the technology…
Akai MPC Studio Controller and MPC 2 Software
Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Inside the Box with Joe Albano: Drum Plugins and Processing
Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Plugin Outlet: PSP Audioware Saturator
Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Soundware Showcase: Spitfire Audio Hammers
API Select T12 Tube Mic Preamp
Session Log: Frank Kimbrough tribute recording session
Audio-Technica AT2040
Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Readers' Tracks
sE Electronics V Pack Arena Drum Microphone Package
Plugin Outlet: BABY Audio TAIP
Fade Out: Both Sides of the Glass Things
Recording January 2022 - Intro
Recording January 2022 - Cover1
Recording January 2022 - Cover2
Recording January 2022 - 1
Recording January 2022 - 2
Recording January 2022 - 3
Recording January 2022 - Fade In
Recording January 2022 - 5
Recording January 2022 - 6
Recording January 2022 - 7
Recording January 2022 - Fast Forward
Recording January 2022 - 9
Recording January 2022 - Soundware Showcase: Toontrack Fields of Rock SDX
Recording January 2022 - 11
Recording January 2022 - 12
Recording January 2022 - 13
Recording January 2022 - A Family of Microphones Compared: The AKG P Series
Recording January 2022 - 15
Recording January 2022 - 16
Recording January 2022 - 17
Recording January 2022 - 18
Recording January 2022 - 19
Recording January 2022 - 20
Recording January 2022 - 21
Recording January 2022 - 22
Recording January 2022 - 23
Recording January 2022 - Austrian Audio CC8
Recording January 2022 - 25
Recording January 2022 - Stewart Copeland: Don’t kill the talent with the technology…
Recording January 2022 - 27
Recording January 2022 - 28
Recording January 2022 - 29
Recording January 2022 - 30
Recording January 2022 - 31
Recording January 2022 - 32
Recording January 2022 - 33
Recording January 2022 - Akai MPC Studio Controller and MPC 2 Software
Recording January 2022 - 35
Recording January 2022 - Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Recording January 2022 - 37
Recording January 2022 - Inside the Box with Joe Albano: Drum Plugins and Processing
Recording January 2022 - 39
Recording January 2022 - 40
Recording January 2022 - 41
Recording January 2022 - Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Recording January 2022 - 43
Recording January 2022 - Plugin Outlet: PSP Audioware Saturator
Recording January 2022 - 45
Recording January 2022 - Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Recording January 2022 - 47
Recording January 2022 - Soundware Showcase: Spitfire Audio Hammers
Recording January 2022 - 49
Recording January 2022 - API Select T12 Tube Mic Preamp
Recording January 2022 - 51
Recording January 2022 - Session Log: Frank Kimbrough tribute recording session
Recording January 2022 - 53
Recording January 2022 - 54
Recording January 2022 - 55
Recording January 2022 - Audio-Technica AT2040
Recording January 2022 - 57
Recording January 2022 - Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Recording January 2022 - 59
Recording January 2022 - Readers' Tracks
Recording January 2022 - 61
Recording January 2022 - 62
Recording January 2022 - 63
Recording January 2022 - 64
Recording January 2022 - 65
Recording January 2022 - sE Electronics V Pack Arena Drum Microphone Package
Recording January 2022 - 67
Recording January 2022 - Plugin Outlet: BABY Audio TAIP
Recording January 2022 - 69
Recording January 2022 - 70
Recording January 2022 - 71
Recording January 2022 - Fade Out: Both Sides of the Glass Things
Recording January 2022 - Cover3
Recording January 2022 - Cover4
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