sE Electronics Instrument RF Studio Set, Instrument RF User manual

Instrument Reexion Filter

Manual

Electronics

SE Electronics Instrument Reexion Filter Manual

Thank you for buying the sE Electronics Instrument Reexion Filter.

Although the main idea behind this product is to facilitate ‘dry’ and ‘separated’ instrument recordings we’d
be very interested to hear about novel applications from you, so please do contact us with your ideas; we
are always glad to listen as it helps us improve and develop the product, and the information we can
supply to other sE users.

Your Instrument Reexion Filter carries a 2 year manufacturing warranty, with free replacement of parts in
case of mechanical failure due to faulty components. This warranty does not cover failures deemed to
be as a result of misuse or abuse of the Instrument Reexion Filter.

You can extend your free 2 year warranty to three years by registering your product at
www.seelectronics.com <http://www.seelectronics.com/> so please visit the site and leave your details.
You can also subscribe to the sE newsletter which we email out once every few months (don’t worry, we
won’t pass your details on to anyone else, and we won’t bombard you with SPAM!)

How it works

The sE Instrument Reexion Filter or IRF works on the same principle as our highly acclaimed Reexion
Filter, which was initially developed to assist in vocal recording. The Reexion Filter system works in two
ways: by shielding the rear and sides of the microphone from o-axis sound, such as room reections,
and by reducing the amount of vocal sound spilling out into the room. In most small studios, the room
reections often colour the sound in a destructive way that is impossible to remedy using EQ or by adding
additional articial reverb, so minimising these reections at the recording stage makes it possible to
achieve professional sounding recordings in an acoustically imperfect room. In reality the Reexion Filter
acts as a localised recording booth that eliminates the need to treat the entire room. Our unique multi­layer absorber technology allows the Reexion Filter to be made much more compact than acoustic foam
or mineral wool panel absorbers oering a similar level of performance and our new Instrument Reexion
Filter takes this well proven concept and adapts it for instrument use.

The SE Instrument Reexion Filter is a scaled down version of the original with a versatile gooseneck
mounting system and a central tube to allow ‘end re’ microphones, such as the SE2A, to be set back into
the IRF so that the acoustic screening can work as eectively as possible.

Measuring 6.5 inches by 8 inches, the IRF is light enough to be supported on a conventional microphone
stand using the clamp assembly at the end of the gooseneck. The gooseneck is packed with the IRF but
not xed to it. A simple thumbscrew system holds this in place but take care not to lose the bre washer
as this helps keep the joint tight.

Instrument Reexion Filter Technical Manual

Using Your Instrument Reexion Filter

A spring-loaded plunger in the side of the central tube is
used to secure stick-type microphones and a good starting
position is to get the microphone capsule roughly level
with the front edge of the lter. The easy was to do this is
to put the IRF face down on a table, adjust the microphone
position by pulling the spring plunger to release the
microphone, then lower it so that the microphone capsule
end is also touching the table. If the microphone is placed
further into the IRF, you may get slightly better sound
isolation but at the expense of a small amount of tonal
coloration. If on the other hand you have the microphone
protruding further than necessary, the amount of sound
isolation will be reduced.

In situations where you wish to use
a side-address microphone, such
as our sE2200A, the central tube
can be plugged using the foam
bung provided. You can still use a
single mic stand to hold both the
microphone and the IRF. Where the
instrument being recorded has a
reective wall or other surface directly
behind it, a further improvement can
be made by improvising a screen
from blankets hung behind the
performer to further reduce the level
of reections entering the front of the
microphone.

In smaller studios, drum recording is often a problem because of the intensity of ceiling and wall
reections, which in the main aect the overhead microphones as these are furthest from the kit. By
setting up an IRF to shield the rear and sides of the overhead mics, the level of these unwanted reections
is signicantly reduced resulting in a cleaner recording. Also keep in mind that adding compression to
your recording later will increase the eect of any room resonances or coloration so the drier you can
make your original recording the better.

Instrument Reexion Filter Technical Manual

Using Your Instrument Reexion Filter

The IRF is also invaluable on
acoustic guitar recordings,
particularly if you prefer to use
omni or gure-of-eight pattern
mics rather than cardioids as these
are very sensitive at the rear — the
direction looking away from the
instrument. By shielding the rear
of the microphone with an IRF,
the amount of spill from other
instuments, as well as reections
from walls, is again reduced by a
very worthwhile amount. Similarly
the IRF is well-suited to recording
electric guitar or bass cabinets,
especially if using ribbon mics
(which have a natural gure-of­eight pattern), but even if you are
using cardioid mics, the extra screening is worthwhile, especially if the microphone is some distance
from the amplier.

Other applications include violin and viola recording where the normal position of the microphone
above the instrument oers similar challenges to the drum overhead mic. Similarly, a stand
mounted cello mic will benet from the extra isolation aorded by an IRF. In fact the IRF can make an
improvement in any acoustic instrument recording scenario situation where either sound reections
or crosstalk from other sound sources pose a problem.

Instrument Reexion Filter Technical Manual

Electronics

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