-
Get involved.
We want your input!
Apply for Membership and join the conversations about everything related to broadcasting.
After we receive your registration, a moderator will review it. After your registration is approved, you will be permitted to post.
If you use a disposable or false email address, your registration will be rejected.
After your membership is approved, please take a minute to tell us a little bit about yourself.
https://www.radiodiscussions.com/forums/introduce-yourself.1088/
Thanks in advance and have fun!
RadioDiscussions Administrators
EV RE-320
- Thread starter shure
- Start date
D
Denny E.
Guest
Not yet, but I will as soon as I can get my hands on one. I would imagine it sounding closer to an RE20.
Dennis
Dennis
I recently compared a brand-new RE-320 to a brand-new RE-20, in the same studio with the same audio path and utilizing the same monitoring system. You can look at the published response curves all you want, but here are some quick, subjective observations from a highly-experienced broadcast engineer with a long-term background as an on-air personality and a successful programming track record.
In the "flat" response switch position on both the RE-20 and the RE-320, I couldn't discern a real difference between the two without a direct A-B comparison, where the differences became clear. While the RE-320 was reviewed in a national publication as having a "warmer" sound than the RE-20, I perceived the exact opposite, preferring the latter for that trait. The RE-320, however, seemed to have a more "transparent" and "well-defined" midrange in the vocal spectrum. It even sounded pleasantly a bit "crisper" than the RE-20, but without the artificially "over-hyped" (in my opinion) mid-range of an RE-27.
In the "second" position of the response switche(s), though, where the RE-20 loses any of its boominess and gains its crispness by comparision, the RE-320 becomes a whole different animal. The 320, in its "kick" position (designed for on-stage, kick drum reproduction), sounds almost like a mike processor when used for vocal work. While not to my personal taste, perferring instead to process externally to specific characteristics, some are sure to like it for that effect.
So, I bought two of the RE-320s for use in a brand-new studio in a brand-new station, where I usually spec RE-20s. The client has a limited budget, and the RE-320 sounds remarkably comparable while costing about a hundred dollars each less, not to mention that the sleek, black finish makes it look like it costs about a hundred dollars more. Your mileage may vary.
In the "flat" response switch position on both the RE-20 and the RE-320, I couldn't discern a real difference between the two without a direct A-B comparison, where the differences became clear. While the RE-320 was reviewed in a national publication as having a "warmer" sound than the RE-20, I perceived the exact opposite, preferring the latter for that trait. The RE-320, however, seemed to have a more "transparent" and "well-defined" midrange in the vocal spectrum. It even sounded pleasantly a bit "crisper" than the RE-20, but without the artificially "over-hyped" (in my opinion) mid-range of an RE-27.
In the "second" position of the response switche(s), though, where the RE-20 loses any of its boominess and gains its crispness by comparision, the RE-320 becomes a whole different animal. The 320, in its "kick" position (designed for on-stage, kick drum reproduction), sounds almost like a mike processor when used for vocal work. While not to my personal taste, perferring instead to process externally to specific characteristics, some are sure to like it for that effect.
So, I bought two of the RE-320s for use in a brand-new studio in a brand-new station, where I usually spec RE-20s. The client has a limited budget, and the RE-320 sounds remarkably comparable while costing about a hundred dollars each less, not to mention that the sleek, black finish makes it look like it costs about a hundred dollars more. Your mileage may vary.
It's good to hear that EV has done such a nice job on the RE-320, maineengineer. Is there any indication where it's made?
I found some test clips online, in Pro Audio Review's writeup:
http://www.proaudioreview.com/article/35288 (link is in the blue box midway down the page)
Sounds great!
I found some test clips online, in Pro Audio Review's writeup:
http://www.proaudioreview.com/article/35288 (link is in the blue box midway down the page)
Sounds great!
I report news, and having a background in radio, I am full aware of the RE-20's reputation as a studio and broadcast mic. I have spent numerous hours behind many an RE-20, and I have to say that, of the standard broadcast quality microphones I have used, the RE-20 is the one I like the best.
But now, I may just have a new favorite broadcast mic with the RE-320. I have to admit, though, it was hard putting the RE-20 in the road case and placing it in the cabinet for a vacation, kind of like saying good bye to an old friend. I have not had the chance to test the RE-27, but I do have the opprotunity to put this RE-320 through the paces. In just the short time I have been using this mic, I have to say the sound is very similar to, yet distinctly different than, the RE-20. With crisper highs and a tad less mid, I find the RE-320 fits well with my voice and style of delivery as a news broadcaster. The sound is warm and smooth without the harsh crispness of a similarly priced, over driven large diaphragm condenser offering. Not being a fan of LDC mics because of the lack of off axis rejection, I have to say that in a world where more and more studios and professionals are going with LDCs, this RE-320 should not be overlooked for a not-so-ideal studio environment. Because of it's heritage and price point, I think this is an excellent addition to any mic closet or broadcast booth.
The selector switch where the bass roll off would be on the RE 20 or RE 27 is present, but it holds a different function, and there is a notable difference in the sound, as was intended. You wont get the two mixed up when speaking into this mic if you are listening through a set of cans. The instrument setting is definately flatter and not real suitable for vocals.
As usual, the RE-320 has the internal pop filter, which works fairly well. I have seen (and purchased) the metal mesh pop screen from a reputable broadcast equipment outfitter that is designed and painted to match the RE-20, and I have to say, I like working without the screen better, as I can get a bit closer when needed for effect.
Internally, the RE-320, as per the company's website, is similar to the others in that it utilizes the same humbucking coil technology found in the RE20 and RE27 to arrest electro magnetic field interference. This offering from EV is said to be similar to the RE-27 with it's Neodymium Magnet that increases the output slightly, which is nice as I can now back off the trim a bit to remove any hiss that might be present in the signal while recording. The classic look and feel of this mic is similar to the RE-20, and that makes it comfortable to be in front of, just like an old friend. The interior shock absorbtion is what can be expected from any of the RE series broadcast mics, making the external shockmount not neccessary, but desired in a broadcast setting where the broadcaster has to move around and take the mic with him (or her).
But now, I may just have a new favorite broadcast mic with the RE-320. I have to admit, though, it was hard putting the RE-20 in the road case and placing it in the cabinet for a vacation, kind of like saying good bye to an old friend. I have not had the chance to test the RE-27, but I do have the opprotunity to put this RE-320 through the paces. In just the short time I have been using this mic, I have to say the sound is very similar to, yet distinctly different than, the RE-20. With crisper highs and a tad less mid, I find the RE-320 fits well with my voice and style of delivery as a news broadcaster. The sound is warm and smooth without the harsh crispness of a similarly priced, over driven large diaphragm condenser offering. Not being a fan of LDC mics because of the lack of off axis rejection, I have to say that in a world where more and more studios and professionals are going with LDCs, this RE-320 should not be overlooked for a not-so-ideal studio environment. Because of it's heritage and price point, I think this is an excellent addition to any mic closet or broadcast booth.
The selector switch where the bass roll off would be on the RE 20 or RE 27 is present, but it holds a different function, and there is a notable difference in the sound, as was intended. You wont get the two mixed up when speaking into this mic if you are listening through a set of cans. The instrument setting is definately flatter and not real suitable for vocals.
As usual, the RE-320 has the internal pop filter, which works fairly well. I have seen (and purchased) the metal mesh pop screen from a reputable broadcast equipment outfitter that is designed and painted to match the RE-20, and I have to say, I like working without the screen better, as I can get a bit closer when needed for effect.
Internally, the RE-320, as per the company's website, is similar to the others in that it utilizes the same humbucking coil technology found in the RE20 and RE27 to arrest electro magnetic field interference. This offering from EV is said to be similar to the RE-27 with it's Neodymium Magnet that increases the output slightly, which is nice as I can now back off the trim a bit to remove any hiss that might be present in the signal while recording. The classic look and feel of this mic is similar to the RE-20, and that makes it comfortable to be in front of, just like an old friend. The interior shock absorbtion is what can be expected from any of the RE series broadcast mics, making the external shockmount not neccessary, but desired in a broadcast setting where the broadcaster has to move around and take the mic with him (or her).
The RE-320 arrived today. We put it in the studio and we were blown away. Set in the flat position, the microphone had the sound of tin can. Barefoot, it sounded like everything went through a high pass filter. Zero mid's or bottom end. We put it into the mic processor. Even worse. We tweaked the processor...still awful. Maybe this is a bad microphone. We're sending it back for another just in case it was the microphone. I guess I'm dating myself, but I remember when the EV RE-20's and 27's were like tanks. The 320 is like a piece of light plastic. Maybe this is a bad unit. When the new one arrives we'll give it another test. Meantime, the SM 7B is back in the studio. Even without any processing, the 7B was rich and full. Too bad about the 320.
D
Denny E.
Guest
This is a bit disheartening to hear. I think of the RE line of microphones very robust, professional sounding equipment. Although I had one of my RE20s back to the factory several years ago for foam replacement and when I tried it with a fairly potent SPL (outside of my bass drum), distortion could be heard. I now use this particular microphone just for voice.
Dennis
Dennis
Well,so far the vote's 2 to 1 in favor of it.
shure said:
EV RE320 is made in China. The RE20s are still made in the USA (for how long? who knows). And no, you're not dating yourself. RE20s _STILL_ are tanks and I still swear by them.
I'd rather have an RCA 77DX or RCA 44BX. They both sound better than either the EV RE-20 or EV RE-320.
So had I until we figure the cost. We got 23 REs hanging. What would we have to drop for 25 (need a couple of spares) 77s by the time they're refurbed and ready to use? Plus, they're somewhat less robusty, the jocks break them more often. Not economica;;y feasible.
littlejohn said:
Besides, Re20s are still current manufacture. DX-77s haven't been made in God knows how long. Believe me, I'd love a DX-77 in a talk studio but it would be something only used by a very trusted jock who won't wave it around like a baseball bat, bang on it or otherwise abuse it.
The RE20 tends to survive better among these "monkeys with microphones". ;D
You can get a 77DX in great shape for $1500. Or, you can get a number of new ribbon mics that sound as well or better for the same or less. A ribbon mic is the absolute last mic I would use in a radio station, for durability reasons. I sold my 77DX for $1000. It was in perfect condition.
I use and own a number of RCA 77DXs and RCA 44BXs. While the bass on an EV RE20 or EV RE320 sounds kind of muddy to me, the bass on a 77DX or 44BX sounds rich and warm. If money is an issue, the EVs are the cheaper alternative. Engineers also have to take into consideration that most air talent (and I use the term loosely), are clueless about how to properly use vintage mics without destroying them or popping every p and t possible. The 77DX and the 44BX are the only mics that I use in my studio and they are workhorses. The only other mic that I would consider would be a Neumann U47 with the original EF14 tube if I had the bucks. They go for big money. I have never had any bad experiences with either my 77DXs or 44BXs and only have positive things to say about both models. I would not waste my time with either of those EV mics. They don't sonically measure up to the warmth of RCA ribbon mics.
I wonder if the EV is basically the same as this mic from MXL? http://www.mxlmics.com/products/Studio_mics/BCD-1/bcd-1.html
I use the RCA 44BX, I have physical challenges and a low, breathy voice. Trained on using one in 1973 when I was 9 and a young combo engineer assistant/air talent. Still use one with extra preamp gain and it suits me well with a good windscreen. Like the EV RE-20 and it's proximity boost helps me with resonance. I must do my job sitting down and need all the help I can get.
Well, lessee. $1500 for a good refurb in the proper mount. Times 25 is. lessee... 37 and a half Large. Highly unlikely to happen.
littlejohn said:
Or you could just buy Wes Dooley's AEA version for a little under $4000. http://www.wesdooley.com/ I'll bet you'd have a hot time selling that to the station management....
- Status