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sE Electronics DCM3 & DCM6

Dynamic Microphones By Paul White
Published April 2023

sE’s new dynamic design comes in both active and passive flavours.

sE Electronics DCM3 & DCM6While sE made their mark building capacitor studio mics, and later some notable ribbon models (including the Rupert Neve‑designed RNR‑1), they also have a range of moving‑coil models, to which the DCM3 and DCM6 are the latest additions. Both employ the same capsule, with a frequency response voiced to capture a smooth and natural vocal sound, the key difference being them being that the DCM6 incorporates active circuitry derived from sE’s Dynamite inline preamp. Designed to be powered from a standard phantom power source, this adds a fixed 30dB of clean gain. The preamp in the DCM6 can be bypassed when loud sources are being recorded, but is a real help when dealing with quieter or more distant sounds.

Both mics share the same all‑metal housing with satin black finish, and are configured as end‑address, cardioid‑pattern models. Physically the mics measure 158 x 86 x 62mm and weigh just over half a kilogram. Outwardly the only obvious difference is that the DCM6 has a red button on the base to turn on or off the Dynamite preamp.

Gold‑plated XLR connector pins are used to help avoid contact resistance due to corrosion, while the capsule itself uses a neodymium magnet and a copper voice coil to achieve a frequency range of 40Hz‑18kHz (‑10dB), with the DCM3’s sensitivity specified as ‑52dBV. The frequency graph in the manuals for both models shows a very broad presence hump starting at around 1kHz and falling back again by 18kHz, centred at 5kHz and around 6dB above nominal at its highest point.

The DCM6 has a button at its base to engage the Dynamite preamp circuitry, but the two mics are otherwise identical.The DCM6 has a button at its base to engage the Dynamite preamp circuitry, but the two mics are otherwise identical.The basic microphone body design includes an integrated pop filter, a shockmounted capsule, and an integral swivel mic‑stand mount that comes with a thread adaptor for US or EU threads. In many situations the internal shockmounting means that an external shockmount will not be necessary, though the mic is very sensitive to low frequencies. A fairly standard‑sized dynamic capsule, protected by the type of basket you might expect to find on a handheld live‑sound mic, sits on a wide, squat body, allowing the sculpted foam windshield that fits over it to follow its contours. Unscrewing the basket reveals that the capsule is mounted in a very resilient suspension.

Priced at around 50 percent more than its passive sibling, but still very affordable, the DCM6 has a seemingly identical technical specification to the DCM3 until we come to sensitivity, which jumps from ‑52dBV to ‑22dBV when the active preamp is switched in. This requires 48V phantom power and draws just over 3mA. If the Dynamite button is pressed in with no phantom power applied, there is no output from the mic. In my tests, the DCM6 in passive mode sounds exactly the same as the DCM3 model.

In Use

The voicing of these mics gives them a well‑defined top end, which aids speech clarity when used for podcasting or recording vocalists who need a little help to cut through. The broad nature of the upper‑frequency voicing avoids the treble sounding aggressive, but I did notice that these mics pick up a lot of low end from their surroundings. They don’t have onboard low‑cut filters, so for voice recording, adding low cut on your preamp, interface or DAW plug‑in might be a good plan. Of course the generous bass extension cuts both ways, so when you come to record drums, bass or electric guitar, you can be sure you’re not going to lose any low‑end punch.

The voicing of these mics gives them a well‑defined top end, which aids speech clarity when used for podcasting or recording vocalists who need a little help to cut through.

For podcast‑style recording, I found that I needed to have the gain control on my interface turned most of the way up when using the DCM3, but the result was still perfectly clean. Using the DCM6 with the Dynamite boost switched in meant I needed much less preamp gain, but in other respects the sonic outcome was identical. A clear benefit of the active circuity is that budget preamps don’t have to be pushed hard to get the required gain, and you can also record quiet instruments and other sounds that are a little further away without struggling for level. The dual‑stage pop filter (foam and wire basket) is also very effective.

Given their affordable price, build quality and sonic credentials, I have to conclude that both versions of this mic offer good value for money as well as having uses beyond voice recording. Indeed, there’s no reason not to use them for live sound. I would have liked a built‑in low‑cut filter switch, but other than that I have no complaints.  

Summary

These are both very capable dynamic microphones with numerous applications beyond vocal and speech recording.

Information

DCM3 €119, DCM6 €169. Prices include VAT.

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