sE Electronics V KICK Dynamic Kick Drum Microphone with Four Voicings

sE Electronics V KICK: A Voiced Dynamic Kick Mic With the Low-End Punch Dialed In

The sE Electronics V KICK is a dynamic kick-drum microphone built around a custom DMC7 SB supercardioid capsule and tuned from 20 Hz to 19 kHz to capture the full weight and click of a bass drum. What sets it apart is control: two rear switches deliver four distinct voicings, letting you move from a warm, classic thump to a modern, punchy attack without reaching for an equalizer. An integrated swivel joint lets you place it inside the shell or out in front, and a switchable internal windscreen tames the air blast that lives inside every kick drum. It handles the high sound-pressure levels of a bass drum, floor tom, or bass cabinet without flinching. This is the kick mic you set once and trust to deliver the low end your track is built on.

Four Switchable Voicings: EQ Choices Built Into the Mic

The V KICK's two rear switches combine to give four factory-voiced frequency responses, each shaping the balance between low-frequency weight and upper-midrange attack before the signal ever reaches your console. In practical terms, one setting emphasizes the round, sustaining boom of a jazz or classic-rock kick, while another scoops the low-mids and lifts the beater click for the aggressive, defined punch modern rock and metal demand. Building these voicings into the capsule means you capture the tone you want at the source, so you commit less corrective EQ later and start from a stronger recording. A beginner gets usable kick tones without knowing which frequencies to cut; a seasoned engineer gets a fast starting point that shortens soundcheck and cleans up the console. It is a graphic EQ's worth of decisions distilled into two switches.

The Custom DMC7 SB Capsule Engineered for Bass-Drum Energy

At the core of the V KICK is a custom DMC7 SB supercardioid dynamic capsule with an aluminum voice coil, designed specifically to translate the enormous low-frequency energy of a kick drum into a clean electrical signal. Dynamic capsules generate their output by moving a coil through a magnetic field, a robust mechanism that thrives at the punishing sound-pressure levels found inside a bass drum where a delicate condenser would struggle. The supercardioid pattern focuses pickup tightly on the drum and rejects the surrounding stage volume, keeping the low end defined instead of muddied by spill. Extending down to 20 Hz, the capsule reaches into the sub-bass region you feel in your chest as much as hear. For the newcomer that means real low-end without guesswork; for the pro it means a foundation solid enough to anchor a full mix.

A Switchable Internal Windscreen That Tames the Blast Inside the Drum

The inside of a kick drum is a hurricane of moving air - every beater strike shoves a gust across the mic capsule that can register as a low-frequency thump or distortion rather than musical tone. The V KICK's switchable internal windscreen sits between that air blast and the diaphragm, absorbing the gust while letting the drum's actual acoustic energy through. Because it is switchable, you can engage it for close in-the-shell placements where wind is worst and disengage it when the mic sits out front and needs the most open response. This is the difference between a kick track with clean, controlled attack and one plagued by ugly wind artifacts. First-timers get a clean recording without diagnosing what went wrong; engineers get one less variable to fight when they push the mic in tight.

An Integrated Swivel Joint for Inside or Out-Front Placement

The V KICK's integrated swivel joint lets the microphone body pivot on its mount, so you can drop it through the port hole and angle it toward the beater for maximum click, or set it just outside the resonant head for a rounder, fuller tone. Kick-drum tone is enormously placement-dependent - a few inches toward the beater adds attack, a few inches back adds body - and the swivel makes those adjustments fast and repeatable. Locking the joint holds your chosen position through the physical pounding a bass drum transmits to everything near it. A beginner can experiment freely until the kick sounds right without wrestling a rigid clip; a touring engineer can reset the exact same placement at every venue. Flexible where it needs to be, locked where it counts.

Beyond the Kick: Floor Toms and Bass Cabinets

Although voiced for the bass drum, the V KICK's low-frequency reach, high-SPL tolerance, and tight pattern make it a genuine multi-tool for any big, loud, low source. On a floor tom it delivers the same weighty punch, capturing the drum's deep fundamental where a smaller-diaphragm mic would sound thin. In front of a bass guitar cabinet, it takes the speaker's output cleanly and adds the same controllable low-end character its voicings provide on a kick. That versatility means the mic keeps earning its place in your kit long after the drum session ends. The home studio owner gets one mic that covers several low-end jobs; the working engineer gets a reliable fallback when the bass DI needs a cabinet blend.

Live and Studio, First Kick Mic or Trusted Upgrade

In the studio, the V KICK's voicings let you commit a finished kick tone during tracking, while its clean capture leaves room to blend a sub or beater mic if the production calls for it. On stage, the built-in voicing switches mean the front-of-house engineer can dial a punchy, cutting kick fast and keep it consistent from room to room. For the first-time buyer, it removes the intimidation of kick miking by putting the hard EQ decisions on two labeled switches. For the upgrader replacing a generic dynamic, it offers tighter isolation, deeper low end, and voicing flexibility a single-character mic cannot match. Whether it is the first mic inside your kick or the one that finally gets the low end right, it delivers a foundation you can build on.