Se electronics REFLEXION FILTER User Manual

User Manual

For further information on this, or any other sE Electronics products, and to

register your product for a free extension of your 2 year warranty, please visit our website.

www.seelectronics.com

Thank You!

Dear sE customer,

Thank you for purchasing the Reexion Filter ‘portable vocal booth’.

The main idea behind this product is to facilitate ‘dry’ vocal recordings, in other words to achieve
a vocal recording which has greatly reduced room ambience. Of course, the same Reexion Filter
can be used to achieve similar results whilst recording various live instruments, for isolating vocals
in rehearsal studios and probably a host of things we haven’t thought of yet too! 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 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 Reexion Filter. If properly used and looked after, it should
last a lifetime of recording use.

You can extend your free 2 year warranty to three years by registering your product at
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!)

One last thing… please read this assembly manual to get the best results from your Reexion Filter…
mic positioning, and the stand clamp assembly are critical to getting best results.

Thank you again, and we look forward to hearing from you,

Siwei Zou
CEO
sE Electronics International

A Few Notes about the Reexion Filter

What is the Reexion Filter?

The Reexion Filter is basically a portable device for recording live sound sources with reduced room ambience.
It is an advanced composite wall which is positioned behind any microphone by means of a variable position
stand clamp assembly which ships with the product. The main function is to help obtain a ‘dry’ vocal or
instrument recording. This is especially useful in studios without proper acoustic treatment, but can also be used
to help record takes in control rooms, where the performer also has to operate the recording device, or in
rehearsal studios to reduce ambient noise.

The Technical Bit:

The Reexion Filter has 6 main layers. Firstly, a strong layer of punched Aluminium which allows sound waves to
pass through it, diffused, to a layer of absorptive wool. The sound waves then hit a layer of Aluminium foil which
helps dissipate energy and break up the lower frequency wave-forms, and from here they hit an air space kept
open by rods passing through the various layers. The air gap acts as an acoustic barrier. The sound waves then
pass to a further layer of wool and then through an outer, punched, Aluminium wall which further serve to absorb
then diffuse the remaining acoustic energy.

The main absorber has 4 formed pieces of state-of-the-art specialist acoustic absorptive material attached to its
face via the extended separation rods, which further serve to absorb and then diffuse the sound waves as they
pass to the main lter.

The stand assembly comprises a mic stand clamp tting, which attaches by means of a vertical joint to the
horizontal bar assembly onto which both the Reexion Filter, and any standard tting shock mount can be xed.
The microphone (in its shock mount) can then be moved both vertically and horizontally along the bar, and the
Reexion Filter itself can be moved vertically to obtain the optimum working position.

How does it work?

The various layers both absorb and diffuse the sound waves hitting them, so progressively less of the original
source acoustic energy passes through each layer. This reduces the amount of energy hitting un-treated walls
and other surfaces so there is less of the original source reected back as unwanted room ambience to the mic.
The Reexion Filter also helps prevent any reected sound reaching the back and sides of the mic. Its shape and
size have been carefully tested to maximize absorption while keeping ‘coloration’ down to only around 1dB,
and leaving the microphone’s polar pattern unaffected.

In summary:

All in all, it’s a very clever and desirable piece of kit. It allows you to record vocals, guitars etc with a ‘drier’ sound
without having to have an acoustically treated room. It’s portable. It uses state of the art materials. It works…
and it’s a fraction of the price of acoustically treating your studio environment!

Assembling your Reexion Filter

Remove the Reexion Filter and stand

1

assembly unit from the packaging.
Please keep the packaging safe to store
the Reexion Filter when not in use, or
for transportation. It is robust, but parts
may get damaged or lost in transit if not
packaged properly.

You should have the following parts
– Reexion Filter (curved wall), stand
assembly, support rod and spanner to t
support rod.

Fig. 1

Fig. 2

Fix the stand clamp assembly in place on

2

the neck of your microphone stand a few
inches below the point where the shock
mount is usually xed, or on the main
vertical support strut of the stand.

You’ll see the assembly has a metal block
with two large screws and a handle on
it (one of the screws has a spring to help
lock the assembly rmly onto the mic
stand.

Mic stand booms vary in diameter so you’ll
need to experiment to get the clamp just
right, but basically you need to set the
screw with the spring so the two parts of
the clamp sit parallel to each other, and
then tighten the clamp using the larger
screw.

Fix the support rod to the Reexion Filter by

3

screwing it into the socket on the bottom
edge. Tighten the nut using the spanner
supplied in the box.

Fig. 3

Fix the support rod, with the attached

4

Reexion Filter, by pushing the support rod
down into the socket on the stand clamp
and tighten it in place with the metal
handle on the block.

Fig. 4

You can now play with the positioning of

5

the mic (both vertically and horizontally),
and the height of the Reexion Filter to
get the optimum position for recording.

Perfect Position…..!

The ‘perfect position’ to achieve a ‘dry’ recording is to place of the microphone so that the mic capsule sits
centrally (both vertically and horizontally) in relation to the face of the Reexion Filter (the face is the convex
side with coloured panels). It is also important to have the mic capsule of the correct distance from the
face of the Reexion Filter. The mic capsule should sit roughly level with the front edges of the lter where
the curved wall ends.

Having said all that, you CAN use the Reexion Filter
to achieve different effects by experimenting with
positioning. Moving the mic into the face of the
Reexion Filter will give a ‘darker’ and more ‘dead’
sounding recording, but it will also affect the polar
pattern response of the mic, so the mic will perform
slightly differently. Again, in most cases this would be
undesirable, but this method of use can create some
cool results… try micing an electric guitar cab this way,
it can sound great!

Moving the mic further away will mean there is more
room ambience recorded with the dry source. Again,
this is not usually desirable but can be used to get a
specic ‘room sound’ without the room taking over
completely!

The Reexion Filter can be used not only for recording
vocals and acoustic guitars etc, but as outlined above,
you can experiment to nd new applications like the
guitar cab mic’ing we suggested above. We’d love
to hear from you with your own novel applications,
so please contact us via the main web site,
www.seelectronics.com, to let us know what you think
of the product, and how you are using it.

Thanks again, and we hope you enjoy the results of your
new toy!

Fig. 5

James Young

www.seelectronics.com

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