The sE2200a MKII also gets a new fit and finish by way of a black, rubberized coating over the entire microphone. Said to help in damping out mechanical resonances of the metal case, I like its stealth look and the feel of its "no slip" grip--the mic nearly disappears in a darkened vocal booth or studio. I also like that the included sE metal pop screen will attach to the included shock mount using a tiny screw for adjusting its exact height and angle. The shock mount uses taut, elastic bands with extras supplied.

In my uses, I found using the proximity effect (present) in all cardioid microphones a big plus! In close, the extra bass rounds out the bright and clear sound when I used it on a loud vocalist who likes to get in close and "eat" microphones. I found the sE 2200a MKII to sound very clear when recording loud singers up close. To capture the whole instrument as it sounds in a room, I liked using the omnidirectional pattern for recording acoustic guitars. I used the figure-of-eight pickup pattern when recording two singers who wanted to face each other to see each other and blend acoustically--mix their own sound in the best summing system ever--the air!

Other than for an overhead microphone, getting in close to drum kits would require another type of mount. The included shock mount is a bit large to sneak in on snare or tom-tom drums. The low frequency roll-off works well to reduce bass frequency buildup without EQ when recording acoustic guitars directly over and close into the sound hole--where Dr. Boom lives. I got a very contemporary acoustic guitar sound that way on a Martin Custom D Classic Rosewood Acoustic Guitar (D-28).

At $399 MSRP, with the sE 2200a MKII you're getting a multi-pattern version of the sE2200a condenser that'll work together with 2200a if you already have one. Now, with cardioid, omni and figure-of-eight patterned microphones, you're set for any recording job.