Review: sE Electronics sE6160

From humble beginnings, family business sE Electronics has come a long way in the last 20-odd years. Founded by Siwei Zou — a bassoon player who spent time performing in the US before turning to microphone manufacturing in a small Shanghai factory — the company is now an established and expanding pro audio brand.

The original sE2200 range of large diaphragm condenser microphones were among the first Chinese-made mics to compete with the traditional European names for sound quality, but at far lower prices. My own multi-pattern sE3300Z was just a few hundred dollars when new and has recorded plenty of vocals over the years — it’s a big, heavy mic that impresses clients and delivers vocals with a bright, detailed presence.

I’ve also owned a pair of the original sE-2A pencil mics since their release in 2009. Built entirely in-house, each mic was individually checked and shipped with three interchangeable polar-pattern capsules. They remain useful today for folk/bluegrass instruments and real pianos.

EVOLVING THE BRAND

Run for some years now by Siwei’s daughter Ling, sE Electronics has expanded into almost every microphone category. Collaborations with Rupert Neve brought signature models and credibility, while its invention of the Reflexion Filter created an entirely new product segment.

Perhaps most impressive is how sE became the first to genuinely challenge the SM58 with its V7 dynamic vocal mic. The difference is an aluminium diaphragm delivering a shiny, modern sound that’s characteristically more of a Beta 58a, with excellent feedback resistance and IEM-friendly tonality. For many, it’s simply a better mousetrap.

The V7’s success has carried over into the V Series drum mics — the V7x, V Beat, and V Kick — which are updated takes on conventional designs, offered at affordable prices. Both the V7 and V Series drum mics won TEC awards soon after their launch. Even the BL8 half-boundary plate mic is eyeing niche markets like cajon and kick-in.

ENTER THE sE6160

The new sE Electronics 6160 shotgun is another example of sE’s knack for spotting a market and delivering value. While hyper-directional shotgun-pattern mics are standard tools in film, TV, and location recording, they’re finding new uses on live stages — particularly as audience mics feeding ambience into IEMs.

Audience mics often sit downstage, where they risk side-spill from PA systems. A shotgun’s narrow acceptance angle dramatically reduces that side noise, focusing on the room instead.

Many touring bands are happy with ‘any-old directional pencil mic’ for audience capture. Those opting for shotguns tend toward reasonably priced camera-focused models like the Sennheiser MKE600, Audio-Technica, or Røde equivalents. High-end shotguns exist, but prices quickly rise beyond touring budgets. The sE6160 aims squarely at this gap, offering a professional, hand-crafted, true condenser design that can compete with premium models at a much lower cost.

NEED TO KNOW

sE Electronics sE6160
Shotgun Microphone

PRICE

A$879
US$499
CONTACT

sE Electronics: seelectronics.com
Sound and Music: sound-music.com
PROS
- High-quality build and finish
- Excellent off-axis rejection
- Low noise, high sensitivity
- Versatile in stage and studio applications
- Competitive price for professional performance
CONS
- Not ideal for rough handling or mosh-pit proximity
- Requires a tool to change settings
SUMMARY

sE Electronics has spotted a niche: a professional shotgun ‘crowd’ microphone for IEM mixes, that doesn’t break the bank. In this respect it performs well. Of course, it’ll happily handle traditional shotgun mic duties as well. If you’re being asked by visiting bands to supply crowd mics, then the sE6160 will provide impressive results without breaking the bank.

BUILD & SPECS

Like all sE products, the 6160 is beautifully made – light, thin, and elegant at just 110g. The long body sports familiar bands of cancellation slots, but the look is modern and purposeful. The supplied stand-mount and foam windshields are well-matched aesthetically.

Inside, a new in-house capsule with a 19.6mm gold-sputtered diaphragm is paired with low-noise electronics and a transformerless output. Self-noise is just 13dB(A), and max SPL is an enormous 157dB with the -20dB pad engaged. The frequency response is ruler-flat from 40Hz to 5kHz, with a gentle lift up to 10kHz. Off-axis rejection is consistent across the spectrum.

The sensitivity is high at 25mV/Pa, ideal for low-level, long-distance pickup. For stage use, a -20dB pad keeps levels under control, with an additional -10dB option and an 80Hz/160Hz HPF. All switches are recessed and colour-coded red — requiring a tool to operate, so there’s no chance of accidental changes mid-gig.

The new sE Electronics 6160 shotgun is another example of sE’s knack for spotting a market and delivering value.

ON STAGE & BEYOND

While waiting for an IEM-equipped act to play at my venue, Theatre Royal, I tried the 6160 as a general-purpose mic. Over a community choir’s bass section, it lifted their sound with ease. As overheads for percussion, it delivered detailed yet controlled cymbals without needing to rely on proximity boost.

Dance band Sugar Fed Leopards played their sort of ’70s sounds at the Theatre Royal, and I tried a couple of 6160s as OH/tom mics — so kick in/out, snare, and two overheads. I had them about one metre above the rack and floor toms and aimed them to get the balance with the cymbals. Interesting sound, and it suited the band. I didn’t miss the proximity boost from close mics on the toms, and the cymbals were detailed and felt controlled. Made me think these mics would record well, either aimed or as a pair. Factory-matched pairs of sE6160s are available, with accessories and windscreens, in a premium protective case.

Ball Park Music were using IEMs; they were touring the cheaper Sennheisers but were happy to try the sE6160s as audience mics. We put them up instead, and the band were happy with just a touch in their IEMs. Listening on solo was interesting – you can hear audience conversations clearly; it feels like spying. I asked the band’s monitor engineer, Bernie Gandy, what he thought at the end of the night — “better than the others” was his assessment.

Frenzal Rhomb were keen to give them a go and liked the sound, but a couple of boisterous lads in the audience kept reaching out to pull one down so they could yell into it. That worried me. In that situation, cheap pencil mics or an old dynamic may be a better choice — the 6160s feel quite strong but don’t want to be in the mosh pit. I moved them upstage out of reach.

RIDING SHOTGUN

The demand for shotgun mics for IEM use is new but will grow alongside the rise of IEM stage monitoring. I do a lot of different music genres on live stages, and I’d find all sorts of uses for these, but the sE6160’s day job will be on film sets, TV/media productions, and recording studios, where I predict it will be readily accepted — the sound quality at least matches the current favourites, they’re way cheaper, and they look great. Location sound, choirs, studio and orchestral recording, and well-produced podcasts are other potential applications. Right now, sE rules.