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[Kemper Watson]

Anyone used these yet? I've had several people here tell me the company had reinvented the wheel. Your thoughts?

[Steve Litcher]

I don't know about the sE Mics, but their capsules are amazing. Dramatic improvement over standard Shure SM58 on our QLXD wireless system.

Using the v7 MC1 capsule... have had them for about half a dozen shows now. They capture vocals much better, sound a lot more natural, and are amazing at rejecting feedback and unwanted noise.

I did an A-B comparison with the standard QLXD SM58 capsule and one fitted with the v7 MC1 on a drummer's vocal mic. No comparison. Far less drum wash in his mic with the v7 MC1. He noticed it instantly in his IEM as well.

[Eric Snodgrass]

I own an sE V7.  It has a supercardioid pattern. 
I just did a live vocal mic comparison between six different microphones, including the V7.  I used a male baritone and a female mezzo-soprano as the vocalists.  We compared a Shure QLXD wireless unit with a Beta 58 capsule, a Shure SLX wireless unit with a Beta 87 capsule, a Sennheiser 825S, a Sennheiser e935, the sE V7, and a Blue enCore 200. 
We felt that the sE V7 worked well on the female mezzo-soprano.  It gave a bit of boost in the lower mid frequencies (consistent with its published frequency response curve) and smoothed out her voice.  On the other hand, we felt it didn't work as well on the baritone, giving him too much lower-mid to his voice, thus making the impression that it was a bit muddy. 
Based on this mic comparison I would use the sE V7 in pretty specific situations with a lead vocalist, such as a vocalist with a naturally sharp tone singing genres like jazz, cabaret, show tunes, etc.  I would hesitate to use it on lead vocalist for rock, pop and hip-hop as I don't think that tonally it would cut through a busy stage mix very well (whereas a Beta 58 or the Sennheiser 935 would), but given the specific voicing of this mic I can completely understand why they use it for Justin Timberlake live. 
I have used the V7 live for a drummer vocal mic and it worked really well, keeping bleed to a minimum.
The handling noise of the V7 produces surprisingly low frequencies - much lower than a Beta 58, either Sennheiser mentioned above, or the Blue enCore.  A highpass filter on the channel cleans it up well.  Because of the proximity effect the V7 exhibits I have found that it always needs an HPF when used.  Check out the frequency chart below and you'll see the very wide and very high db low-frequency response of the V7 when the singer is on top of the mic.

To me it was worth the $99 price.  It gives me a different flavor in my vocal mic collection and could be the right tool for certain voices. 

[Dave Pluke]

Anyone used these yet? I've had several people here tell me the company had reinvented the wheel. Your thoughts?

Yeah.  I own sE V7 dynamics, VR2 (active) ribbons and sE5 Small Diaphragm Condensers (discontinued).  All very, very good - and competitively priced.  sE just posted a video of durability testing the V7, including plenty of drops, running over with a car AND roasting on a BBQ grill (haven't run into that scenario...yet).  https://youtu.be/dRcM4CyQPwM

Did a blurb for them awhile back:  https://twitter.com/i/web/status/968248756847202304

The V7's supercardioid pattern does yield better GBF than an SM58 and its top end clarity is really pleasant.  My only beef is they take forever to out-gas a plasticy smell.  That said, I'm looking forward to ordering the Shure-compatible wireless V7 capsules soon.

Don't know if they are mentioned on big league riders, but Justin Timberlake and Chris Stapleton use sE V7's.

Dave

[Chris Grimshaw]

I've had a few through, here are some thoughts on the ones I've used:

- The X1D is my go-to kick mic. Works on everything I've tried, and doesn't have the pre-EQ'd peak in the kHz range that other kick mics have. If you want a peak there, you can put it there if you like. I find it sounds just fine left flat, though the sound you get varies with position (of course). Throw it inside the kick drum for more "click", or at the entrance to the port for a well-rounded bottom end (my default position). My only gripe is that the threaded part of the mount sometimes ends up loose, and needs gluing back in.

- I'm not so keen on the V7. It's a bit too "colourful" in the mid-high range, and doesn't sound natural to me. The EV N/D767a mics I compared it to are also similarly "colourful", but in a different way. It's a fine mic to have on-hand for if your go-to mic doesn't sit well with a particular vocal, but I don't think I'd put them up as first choice. At the moment, Sennheiser's e935 have them both beat (IMO), and the sale price puts them cheaper than the V7.

- I've also had a Z3300 and SE2200A, which both sound fine, if a little sizzly up at 12-15kHz. The switchable patterns on the Z3300 made it very useful in recording environments. Alas, a "friend" borrowed and then broke that. The SE2200A sits in a drawer - I don't do much recording at the moment, and I'd say it's too bulky for live work. If I do need some large-diaphragm condensers on-stage, I reach for my AKG C3000s (original version, black with green stripe and red switches). They're compact, sound fine, and have some very useful features.

Chris

[Dave Scarlett]

As an alternate drummers vocal mic in this price range I picked up a Samson Q7 and have been pleasantly surprised. Good sounding for a male voice and good off axis rejection.

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