I finally got my package in the mail -- a pair of brand new EV RE20. They're not bad as a stereo rig, and you can throw a switch and really cut out the proximity effect, or any tendency to boom when picking up an acoustic guitar.

Of course I had a frog in my throat and hadn't really warmed up but sound is pretty good...I'll need to eventually get condensers...but for a radio rig it's not too bad.


http://theodorestreet.vox.com/library/post...icrophones.html


http://theodorestreet.vox.com/library/post...th-ev-re20.html

I never would have thought about using these for stereo but... interesting.

It's a fairly expensive stereo pair, perhaps at a cost comparable to pairing used for specific purposes (for example: 2 AKG 451 on guitar). I ended up ordering these mics before I had gone through the rationalization (agony and suffering) that I should get a firewire enabled computer interface (TC Electronic Konnekt 24). I had in mind that I would mainly use these with my Beachtek mic preamp equipped camcorder or my Lavry Mini PRS. So basically I was looking for a different and 'bigger' sound than my existing pairings (2 Sennheiser MD 511, 2 SM57)

So after studying specifications and comments, I concluded I should stay with dynamic mic mainly cause there is no phantom power available from the Beachtek or the Lavry. (But I eventually eliminated that constraint after buying that Konnekt computer interface).

I thought about the SM7b, but it seems to have lots of extra sibilance, and those voice clips on the Coutant mic website pointed me towards the RE20 -- if you've studied the specs on the newer product, the RE27, it sounds like it might be sibilant like the SM7b, and it is said to have a narrower axis of pickup.

I concluded the RE20 should have an acceptable, and a forgiving axis of pickup (these apparently worked with Stevie Wonder and at least in SNL, he's portrayed as rocking wildly in performance).

Conclusions, issues and considerations:

After comparing tracked music (music created by laying down tracks) and stereo recordings, surprise: I chose stereo recordings as having the most natural sound -- it's the thing to aspire to. I also include various ambient recording methods, the Calrec mic recorded CD and LP by the Cowboy Junkies, The Trinity Sessions, as pretty cool, but as I read more about the need to decode and reverse the phase of one or more signals, the bill of materials, I thought I would stick to stereo thank-you very much.

The pair of RE20 sound great on the camcorder. I'm not sure if there is a damping or smoothing effect from the larger diaphragm but sound is less harsh that the usual SM57.

My pair of plastic circa 1994 Sennheiser MD 511 sound pretty good as instrument mics, and there's a strange natural type of equalization (call it the cheese factor) that occurs when you depart from the studio standard SM57...I think you need to have some cheesy mics in your stash just for effect.

My second foray into EV territory is a pair of 635a/b...these are still very good; I'd have to say that they record guitar better than the RE20.

I think that a pair of SM57 mounted on a stereo rail of some sort, spaced or crossed, is still pretty good. My ears haven't got totally used to my crossed RE20s...but the RE20 is definitely a bigger sound for the spoken word, and vocals.

The Future:

I will soon be the first person in a 100 mile radius to own an economical 2 channel Line Audio mic preamp from Sweden. It will be able to supply a line level signal to the camcorder and that Danish Konnekt box. I suspect that if I break from that dynamic mic habit it will be with a pair of Line Audio basic single small diaphragm mics -- they have a science fair look.

I never would have thought about using these for stereo but... interesting. cool.gif


From my readings and exploration of this topic, I would think that the Beyer M201 might be the classic stereo pair (with dynamic mics), but if part of the idea was for a show, and you wanted to bring out the ham, or the Garrison Keilor in the performers, surely a pair of Shure SH55 would do -- but why not go whole hog with the current radio standard, the RE20.

Now if your preamp can handle ribbons well, then a pair of Coles 4038 would really rock.

And if you can afford to spend the big bucks on a pair of LDC: Geffel 940 X 2....I think you can see why I stopped with the 'radio standard pair'.

If you want something with a bit more top then the RE-20's but in the same family, you might see if you can rent or borrow some Stedman N-90's. They're discontinued now, but used a pair runs maybe $300. The capsules were OEM'ed by EV, and they are like an RE-20 with a presence boost and with proximity effect in the bass when close-micing.

You might also seek out info on EV RE-15 and RE-16 mics. The 15's are discontinued, and essentially a flat-response dynamic, and the 16's are roughly the same mic with a presence boost. Old threads here will give you an idea.

I imagine a pair of Beyer M-201's could be very good for stereo micing, but I haven't tried them.

Bear

The Stedman looks good, or better for picking guitar and voice -- as I've mentioned I have this notion that it sounds better to record a stereo sound field than to close mic each thing.

I looked also at the RE16 after I had ordered the RE20...but I haven't heard the result. Sometimes I think I may have liked the RE27, or that Shure SM7...but you can't own every mic in the candy store.

I've been using the pair of RE20 with my camcorder -- it's a very natural spoken word sound, and the combo of vocals and amplified jazz guitar is pretty good...but to pick up vocals and acoustic guitar through a stereo pair -- there might be better mics...I can live with it.

java script:emoticon(':strum:', 'smid_16')



POSTSCRIPT: I could see in the long run trying a pair of ribbon mics, by Royer or Coles or Beyer, but really, I've got a good selection of toys. One of the long-term temptations, life changing perhaps: will I get into multi-track recording or continue with stereo and ambient (dogma Shurely).

The application I think the RE20 are best at is in use with my camcorder. While my SM57 are pretty good, I think there's a smoothing factor or something, the result of the large diaphragm and all the damping.

I think I can live with these, and it's been fun trying to figure out what I want.

And another thing, I've resisted that conformity thing of following the industry trend to multi-tracking -- but I'm sure I will give it a go before long. Sooner than you think, as soon as I can give up this obsessing over microphones and electronic gear.

Take care, and have fun.