as Bear's Gone Fission as already mentioned, dynamic mic's rock!
being a huge fan of dynamics as well, i thought i would see what ever ones favorites were.
me, i am a RE-15, and 16 freak ( and that would include the RE-!) and 11 as well ),!
got to have my the RE-20s, as well.
but their are other i like like.
the 308, and 408b's, the PL-10 and 11, also the PL-76 and 80 are very underestimated.
yep i like the sure 57s and 58s.
another group is the Audix mic's, i love the OM-2, nice pretty flat very cool mic.
the ribbons fall in the dynamic mic category but i will leave them out as most do not realize the are dynamics and they really deserve their own thread.

Hey, Pan!

I don't think EV made a dynamic mic that flat-out sucks. Stuff that isn't perfectly hi-fi, or with limited uses, sure. But no losers. I might have to see about bringing some old content back to the top so everybody knows not to trust some conventional wisdom about EV's--good tips for bargain hunters to know.

The Audix OM-2 is indeed a nice mic--a real sleeper. Smoother and lacking the big presence peak of the SM-58. The dynamic element is the same as in the D-2 mic but in a less rugged hand-held housing. I'm kicking myself for not getting a three-pack when they were going for stupid-cheap money a few years back. Toms, electric guitar, vocals. Good stuff.

There's so many good ones out there: Beyer, Shure, EV, Audix, AKG, Sennheiser, Heil, and probably many I'm neglecting.

Bear

yes the OM-2 is a sleeper.
i recorded acoustic guitar about three years ago ( i think ? ) a Audix OM-2 into a A-Designs MP-2A, and it was the only mic used in the mix.
yes, i agree it is a SLEEPER!
i want to pick up a few more just cause but i do not really need them.
i probably will at some point anyway though.
my favorites are defiantly the EV's

85-90% of the time, the first mic I grab is an EV dynamic...RE16 usually...

FWIW, the only difference between the RE and PL mics with the same digits (RE11/PL11,etc) is the color...this according to a retired EV mic guy...there were a couple of unique PL mics, but most by far were just the RE in a different color...

Yep. The PL's were originally sold through musical-instrument retailers probably with a live-sound focus. The warranties were also shorter than the RE's and numbered mics. I think people just assumed lower quality or "rejects." Smart money is on EV predicting that standard live use is abuse and would lead to a shorter life span, and that seems like a reasonable way for a business to keep warranty costs down.

Similar story goes that the RE-10 uses the RE-15 capsules that didn't meet spec. Consensus is getting towards thinking probably not, not in most cases. Besides, if in original state the RE-10 had a bit less top, the wrong sort of abuse of a used RE-15 might bring it to the same place now. (Tough enough to drive nails, but what I hear from those that know, abuse makes these mics lose high-end.)

BTW, the digits don't all match. The RE-10 and the PL-10 are not the same mics. And I don't think there was a PL-15. If there was, someone needs to tell me where they're hiding.

Bear

actual the RE-10s and 11s were very much up-to their required specs.
the RE-15s and 16s were capsules, that tested as very premium.
today it is mute, as when you send in a RE-10 or 11 for repair ( and request a new capsule ), it will come back as a RE_15 or 16 now matter what the number on it is ( provided we are talking about this family of mics ).
the RE-15 and 16 both use the same capsule.
the RE-16 is still in production, and all the capsule are premium, with the more modern means of production, the QC is tight, and the RE-10 and 11 have since been dropped.
the RE-11, and the P-11s are essential RE-16s
the RE-10 is like -wise a RE-15.
the PL-10 however is not a RE-15 or a RE-10, instead it is a mic of its own, and a nice one at that.

P.S. another note:
the reason for the PL series of mics was EVs attempt to better establish a name in the MI ( musical instrument ), industry.
basically they wanted their product in the music store and did not want to rock the boat with their pro end audio dealers.
excellent mics!

Hi,

The PL5 is the same as the EV 635. These mics are similar to the RE50. All three of these mics are omnis tailored for voice. They are often used for interviews and field recording.

The PL9 is also an omni and a very wonderful mic. There is no RE9. I guess the closest equivalent would be the RE55. The RE55 is more expensive. These mics are more along the line of extended flat frequency response in an dynamic omni.

Any 2 RE15 mics make a matched stereo pair. Same for RE16. The RE10 and RE 11 mics are the same mics that underwent the same quality control, they just didn't match a certain frequency response closely enough to make a stereo pair. So if you're not recording stereo it doesn't matter. And even if you are recording stereo it probably doesn't matter.

Purists recording stereo images of classical ensemble music love their matched pairs. For most other uses you won't notice the difference.

I say this because RE10 and RE11 mics can be a real bargain due to their reputation as discontinued lesser siblings which while technically true is generally a non issue.

The RE18 is again the same mic but it's tricked out for video studios with less sensitivity to electromagnetic fields. I guess you would say it's shielded. The RE11, RE16, and RE18 have the built in pop filter.

These mics are different. (RE10-RE18) For vintage dynamics they have a very detailed top end. They are good cabinet mics and to their benefit they don't sound like an SM57 on a cabinet. They handle loud instruments without breaking up.

One more EV dynamic and I'll quit. It's not a PL or an RE. The EV649b is an omni lav mic designed for television studios. Think of an EV635 in a lav package. (so I'm tying back to the opening paragraph) I love this mic. I tie it to my harp rack and sing through it. It's my current favorite vocals mic.

Ok!

Thanks,

Hairy Larry

My understanding that the RE-50 essentially has a whole 635a packed in foam inside of it for shock mounting. Not sure how much faith I place in that, since the consensus seems to be that the RE-50 has maybe a little more bass.

Bear

While its no secret my favorite dynamics are indeed older EV RE series (Larry...thanks for the clarification!) there are some others not jsut worthwhile mentioning, but are almost unheard even in certain "in the know" circles.

WHY AM I TELLING YOU PEOPLE THIS? All y'all will do is continue to jack up the prices

Anyway...

AKG D200, D202, D19, are all killer mics...I had a pair of 202s for a while, sold them in a moment of broke stupidity, and have been unable to get another pair...they simply are amazing. The D200E is a sleeper I use on certain guitar amps, even grand pianos in a mono setting....I need another....

I don't think there is a magic bullet here...its not a stretch of thinking to understand that even though the tools we use today are light years better than those of a generation or two ago, the sounds we get now are not IMO as good as the sounds gottne then....

just a quick tip, then I shall stop revealing...you can use modern pres, digital whizbangery, etc...but if you want the sound quality of the 60s and 70s, you think you GOTTA use the same extreme front ends and extreme back ends...meaning mics and monitors.

Now...that said...anyone that sees a great deal on a D202, D200E, or D12, you better let me know where it is...or I will come to your studio and sprinkle digital-itis all over your gear, and you will be forever doomed to sound like Brittney Spears and Wing...

The D19 is possibly the worst kept secret in the universe. Try finding an ebay posting that doesn't mention Ringo or the Beatles in the title. This has kept the prices up in that market. Heck, you can very often snag a 441 for less money there.

Beyond the D-19 and D-12 (and it's disappointing successor, the D-112), AKG dynamics aren't something most gearheads have adequately explored, though.

Bear

I've used these AKG dynamics that can be purchased for not too much money.

AKG D770 - Cardiod dynamic - An inexpensive vocals mic that's better than it should be. I used it on stand up bass with a bluegrass band and everyone was commenting on how great the bass sounded.

AKG D690 - Hypercardiod dynamic - I guess this is an instrument mic. Not many vocals mics are hypercardiod. I used it on banjo from about a foot away and it worked good.

AKG D310 - Cardiod dynamic - This is similar to the 320 which gets great marks. Great vintage rock vocals mic.

AKG D190E - Cardiod dynamic - When the Shure Unispheres and 545s were dominating the American market the D190 had a similar market niche in Europe. The pro mic that was cheap enough that the bands could afford them. Good on vocals, cabinets, and not bad as a recording mic for recording the room like taping.

I would be glad to hear more AKG or other dynamic mic recommendations especially in the under $100 used range.

One other dynamic I want to mention is they Peavey 520i aka 520tn. I've heard it called the poor man's SM7 I use it on bass and guitar cabinets mostly but it's good for horns, drums, any loud source. Good for rock vocals too.

Thanks,

Hairy Larry

i have been eyeing those AKG D310's for years, but never tried any.
i think they have a very cool look, its that lust factor that draws me to them: )~
i would like to see how they sound on toms?

Hi,

Ok, on the EV PL series I think I have another match. The EV 660 is the predecessor to the PL6 and the RE10-18 series discussed above. It is a hypercardiod dynamic with frequency response from 90-13K. The mic picks up below 90 but it's attenuated more than 5 db so EV says 90.

I found spec sheets for vintage EV mics here.

http://archives.telex.com/archives/EV/Microphones/EDS/

And I downloaded the 660 and the PL6. Not only do they look exactly the same they are spec'd exactly the same. The 660 does allow a high impedance configuration that is not included in the PL6. So at least very close siblings.

The RE15 has a very similar look and spec. It is 80-13K with a bass rolloff switch. I guess they felt like they could provide a little more low end as long as you could turn it down. They also have a "hum buck" coil which rejects hum from stage lighting and power transformers. So it is basically the same mic with improved low end that you can turn off and hum rejection. (for many applications extended low end response was not desirable and mics with too much bass could noise up the signal from passing traffic, distant trains, whatever)

The PL6 is highly thought of by people who own it. One person loved it for percussion even bass drum. One called it the ultimate trumpet mic. The 660 is easier to find and is apparently the same mic.

Thanks,

Hairy Larry

Good homework, HL! I think I'd seen the 660-PL-6 connection before, and physically it's pretty apparent, but the possibility of the RE-15 connection is very, very interesting. Time to grab some before a mystique builds.

Bear

Hi,

I bought one on ebay. An EV 660 for $25.99 shipped. It's clean and sounds good with my voice. I'll let you know more after I compare it to the RE10 and RE15.

I've been using my RE15 on my guitar cabinet. I'm using it and an SM56 right next to each other. The SM56 has more body and bass. The RE15 has more detail in the high end. I'm thinking of them as rhythm and lead mics.

One trick that makes everything fat is to pan the SM56 hard right and the RE15 hard left. This even sounds ok in mono.

I was looking for a dirty harp mic. I was gonna try my CalRad but it was at home. So I grabbed the RE10. I may start using this live. Really cooking fat bassy sound with just the right amount of grit.

I got my RE10 cheap cheap but it looks like it's been run over by a truck. The wind screen is all smashed in and the side vent is missing the plastic piece. Still works great though.

One last note on the side vent. I showed my wife the EV 660. She said, "Hey, it's not only a microphone, it's a harmonica too." It does make me think, what if I blew harp through the vent?

Thanks,

Hairy Larry

Every other RE-10 listing I see on Fleabay seems to identify it as a harmonica mic. I wonder if someone famous uses or used one on that app.

Bear

i can not recall ever seeing anyone use one for that, but i bet i would do a good job: )~

Bear,

Fritz Hasenpusch over at Mel Bay's says:

"It has to do with the way the dynamic element handles fast transients while enclosed within the environment created by two hands. It’s an audio characteristic that stands out with players that choose vocal-quality dynamics. And a generalized observation: These guys are all capable of playing fast! GOOD COMPANY: Paul Butterfield: Shure 545; Carlos del Junco: EV RE-10; Charlie McCoy: 545/SM57; Howard Levy: Sennheiser 421; Jason Ricci: EV RE-10; John Popper: SM58; Magic Dick (the 1st time I saw him): 545."

Here's the link.

http://www.harmonicasessions.com/apr05/m-workbench.html

Note the RE10 makes the list twice surpassed only by the 545.

I have read that Butter also used an SM56 or maybe a 545 with the pistol grip like an SM56.

I've used a 545 and an SM56. Both mics allow you to get that enormous bottom like a tenor sax. I would say the RE10 less so. It has plenty of bass and it's plenty tight. So if you've been using a vocal mic like most of the ones listed and you want to clean up your bottom end the RE10 has less proximity effect than the Shures.

I've been playing harp on a rack and micing it with an EV 649b dynamic omni lav mic. I use a piece of velcro to tie it to my rack and I sing through it too. Similar to a 635 in a lav package. They go really cheap. Mine was under $30 shipped.

Another recommended dynamic is the Beyer M400 Soundstar. I finally made that ebay connection on this mic and should have it in my hands soon. I got my fingers crossed on this one. I've been wanting one for a while and they usually run close to $150 which is hard for me to do. Still cheap enough for what they are. Beyer is good quality. I wish I could afford an M88.

Thanks,

Hairy Larry

Good research once again!

On the Shures: of those Unidyne models that resemble each other, there are some tonal differences--the 545 would have less top extension, the 546 and 548 would have more. I forget where the SM-56 falls in relation to the 57. (Chris Del Faro is the real guru of Unidyne around here.) I imagine that for the two mic's Butterfield is described switching for harp and vocals on the linked page, the harp is a 545 and the vocal is more like a 546.

RE-10--that confirms my suspicion. On the proximity effect, recall that it is a Variable-D mic and is designed to have none or close. And the grating in the mic stalk is probably very handy at preventing the worst stage-mic behavior when a performer decides to cup the mic--usually when the performer does that in a live situation, the mic says "okay, I'm an omni now---Weeeeeeeeee!"

The Soundstar will sound in the family of the Shure Unidyne stuff up-to-and-including the SM-7. More presence than an Sm-7 from what I gather.

The M-88 is a little different--it sounds big in the lows and low mids, slightly scooped in the mids, and with a fairly smooth sounding presence peak. Lots of people think of it as a kick mic, but those in the know say it's remarkably close to a U-87 on vocals. That's very handy for small, makeshift studios because the mic has hypercardioid-dynamic good behavior for rejecting outside noise.

Bear

I made a mistake above. I don't have an RE15. It's an RE11. One of those off by 4 errors.

I'm working on a post with pics which will show the difference.

Thanks,

Hairy Larry

EV 660, RE10, RE11 and shockmount with pics



Here's my EV 660 on the bottom, then the RE10 and on top the RE11. You can see that the 660 and the RE10 (and presumably the PL6 and RE15) look exactly the same except the 660 has a tapered shaft. You can also notice the bass rolloff switch on the RE series mics. I really think that the 660, PL6, RE10, and RE15 are the same mics with slight changes made to improve them or remove unneeded features like the high impedance option on the 660. The RE11 has the integrated pop filter but it and the RE16 and RE18 are also the same mic.

My RE10 looks like it's been run over by a truck. All busted up and caved in. Still works great.

I got these on ebay used. 25.99 for the 660. A little less for the RE10. (I mean look at it!) The RE11 was under $40. So all three mics above under $100 and I've used all three on my current project.



Here's the 660 in my DIY shock mount. This is 4 inch rigid wall drain and number 64 rubber bands. Also note the good use for broken mic clips. I'm going to do a howto on this but really everything you need to know to build one you can see in the pictures.



Here's my Realistic 1070b omni dynamic. One of my favorite mics in the world. These are RE50 clones with an extended frequency response made by Shure in Mexico for Radio Shack. You can find them on ebay all the time under $20.



And here's the 660 and the 1070b ready to record hand claps. My daughter and I clapped through five songs. This weird mic arrangement actually comes out in stereo. I mean it's a hypercardiod and an omni. The 660 records sharper sounding hand claps but both channels sound really natural and even better together. I have no trouble hearing the claps in the mix and have to be pretty careful not to let them be too loud.

Hand claps, like tambourines, are naturally loud instruments and it's easy to get too much in the mix.

I hope to do some a/b/c comparisons on these EV mics in the future on guitar cabs and harmonica.

Thanks,

Hairy Larry

the RE-10 has a rounded top whereas the RE-15 is a bit flat.
the RE-11 has a more flat top whereas the RE-16 is round.

I don't know--that RE-10 looks pretty well flattened at the top . . .


Bear

it looks like it has been used for sure: )~

Hi,

I used it to blow harp on "Houdini".

I think it's a testament to the durability of EV mics.

Thanks,

Hairy Larry