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On-Air Mics
- Thread starter ptfigg
- Start date
Killer combo and cheap..AT2020 (Like 99.00) condenser paired with a properly setup DBX 286A.
Less that 300.00 for the pair...Heil and RE20 very solid as well...
Less that 300.00 for the pair...Heil and RE20 very solid as well...
We use the AT2020 mics here with Symetrix. No complaints. The only downside is having to instruct the air talent to talk into the correct spot on the mic. They're incredibly smooth sounding.
That said, we have a few SM7's in the building and the input to the DBX 286 mic processors needs to be cranked up completely.
If I had my choice, I would use AT2020's everywhere. For the money, and the sound quality, they simply cannot be beat.
Big fan of the RE20, however. It's the most forgiving mic in the known universe.
That said, we have a few SM7's in the building and the input to the DBX 286 mic processors needs to be cranked up completely.
If I had my choice, I would use AT2020's everywhere. For the money, and the sound quality, they simply cannot be beat.
Big fan of the RE20, however. It's the most forgiving mic in the known universe.
Thanks for the comments.
Wow. I'm really surprised to hear about the AT2020. In fact about 5 years ago I was recommending this mic on an old site of mine paired with a cheap mixer for podcast beginners. I had no idea it had been embraced and used in real world broadcasting.
I'm equally surprised to hear about the dbx 286a. Not that there's anything wrong with it. I just thought most stations used the Symetrix 528E and/or the Aphex 230. I've also heard good things about the Vorsis M-1.
-paul.
Wow. I'm really surprised to hear about the AT2020. In fact about 5 years ago I was recommending this mic on an old site of mine paired with a cheap mixer for podcast beginners. I had no idea it had been embraced and used in real world broadcasting.
I'm equally surprised to hear about the dbx 286a. Not that there's anything wrong with it. I just thought most stations used the Symetrix 528E and/or the Aphex 230. I've also heard good things about the Vorsis M-1.
-paul.
Based on my travels, to around 200 stations, the RE20 is the undisputed king of the market. But there are lots of other players, many that I prefer.
I am very lucky to work part time at a station that invested in a Neumann.
I always liked the Sennheiser 421, but I have not seen many of those.
Andy Soule
I am very lucky to work part time at a station that invested in a Neumann.
I always liked the Sennheiser 421, but I have not seen many of those.
Andy Soule
Years ago I salvaged an RE 20 from being offered to the dumpster gods. Up to that point I've never used an RE 20 but believed the hype. It turns out the element is under a lifetime warranty so for $30 it was a new microphone but eventually gave it away because I didn't like the sound. There is the "That is what the big markets use" mentality but I just don't hear this wonderful sound unless you process the beJesus out of it but then again I can do that with a 635A so what is the point? The RE 20, like all EV mics, are bulletproof. That is why you see them used on drum kits and the mic of choice for those crazy destructive disc jockeys. If you want a good sound at a reasonable cost that can handle possible destruction there is always a Shure SM58. If the destruction in your studio is under control there are many condenser for under $100 that produce a nice sound.
My current station replaced the RE 27's in our control room with Rode NT1A and wow, what a difference.
My current station replaced the RE 27's in our control room with Rode NT1A and wow, what a difference.
In my 'day job' at an advertising agency, we used to use RE27s. Although they had bottom end, there was always something 'missing' compared to the RE20. When we rebuilt and moved the studio in 2005, we had some AT2020s installed by the guy doing the studio.
At the station I work at we use RE20s for both on-air and voice-tracking, but during the day they will send me the weather forecast so I can cut it in the agency studio and e-mail it to them to put in the automation early in the day. The weather that I've done on the AT2020 sounds dramatically brighter and fuller (without mic processing) than my voice tracking on the RE20, even through multiband on-air processing. Fortunately, the weather does not air right near any of my voice tracks, so I don't think it's too noticeable.
I really like the AT2020, but it might be strange for some people to get used to using a "side address" microphone on air after being used to shouting in the end of a stick! They are mounted vertically in the same shock mounts as the RE20. I still get people in the studio who will crank the mic down and try to talk into the end.
At the station I work at we use RE20s for both on-air and voice-tracking, but during the day they will send me the weather forecast so I can cut it in the agency studio and e-mail it to them to put in the automation early in the day. The weather that I've done on the AT2020 sounds dramatically brighter and fuller (without mic processing) than my voice tracking on the RE20, even through multiband on-air processing. Fortunately, the weather does not air right near any of my voice tracks, so I don't think it's too noticeable.
I really like the AT2020, but it might be strange for some people to get used to using a "side address" microphone on air after being used to shouting in the end of a stick! They are mounted vertically in the same shock mounts as the RE20. I still get people in the studio who will crank the mic down and try to talk into the end.
RE-20's are good mic with a recognizable sound; but, they turn to mud under heavy processing. My current set-up consists of Shure SM-7's running into Presonus Eureka mic processors/channel strips. The Eureka has just enough clean, preamp gain to run the SM-7's into a fair amount of gain reduction. The only drawback to the Eureka is that it doesn't have a gate/expander in it. I am using a Drawmer DS404 quad gate (a staple of the Live Sound industry) on the inserts of the studio Eurekas. The arrangement works great. I'm hitting the Eurekas with 7-10db of G/R and almost no eq (I do have the HP's engaged on the Eurekas). I like this set-up better than the old Valley People 400's and the Symetrix 528's.
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The SM7 is great for those "loud" DJ's ;D It really is a great mic. The RE20 is probably the most popular radio mic. Back in the 80's, the MD421 became a very popular studio mic. I actually prefer the MD421 over the RE20, with the SM7 as my top pick. And yes, condensers sound great, the AT's, Neumans, etc, but you are looking for trouble with most jocks that will distort the crap out of them.
I like the Heil microphones. I had always liked the RE20s but they are not bulletproof after all. And I didn't know there was a lifetime warranty. I have a few that rattle. Maybe I can get some new life from them.
One thing I have recently noted is that the foam wind socks can be a problem with some mics. I took an RE20 out of service, removed the wind screen and spent hours just watching foam particles fall out of the microphone. I'm sure that contributed to a change in the way the mic sounded.
One thing I have recently noted is that the foam wind socks can be a problem with some mics. I took an RE20 out of service, removed the wind screen and spent hours just watching foam particles fall out of the microphone. I'm sure that contributed to a change in the way the mic sounded.
It's interesting to see the different opinions here. It's hard to argue with the success of the RE20. It's a great mic. As far as the lifetime warranty is concerned, I had to spend $200 on mine a number of years ago. It was dead.
I just bought a used, mint Heil PR40 with shockmount for $200. I wouldn't hesitate to use a PR40 anywhere I'd use an RE20. The AT2020 is a great mic for the money. (If you buy one, invest in a Samson SP1 shock mount. It works well.)
If you want to go cheap, you can get an MCA SP1 condenser mic for $49 shipped. You would be pleasantly surprised at how well the mic works for voice. Heck, at that price, buy one and try it. If you don't like it, pitch it.
It's really hard to find one mic that fits every application. A long time ago, I was in a studio where Charlie Van Dyke was using an MD421. It sounded great, of course. For voice-over work, for the right voice, you can't beat a Sennheiser MKH416, although I've never seen one used on the air. A Rode NTG-3 is a good alternative.
Maybe there's something wrong with my SM7, but I don't like it at all. It's not any better than an SM57 to my ears. Then again, I don't like an RCA 77DX or 44BX for radio. I sold mine.
There is a rash of cheap condenser mics with Chinese capsules, and they're pretty impressive for the money. They're not consistent, but my tube Aphex 460 is excellent. It has one of the best built-in pop filters I've seen on a cheap ($200) mic. It also requires a 5-wire cable and connectors.
I just bought a used, mint Heil PR40 with shockmount for $200. I wouldn't hesitate to use a PR40 anywhere I'd use an RE20. The AT2020 is a great mic for the money. (If you buy one, invest in a Samson SP1 shock mount. It works well.)
If you want to go cheap, you can get an MCA SP1 condenser mic for $49 shipped. You would be pleasantly surprised at how well the mic works for voice. Heck, at that price, buy one and try it. If you don't like it, pitch it.
It's really hard to find one mic that fits every application. A long time ago, I was in a studio where Charlie Van Dyke was using an MD421. It sounded great, of course. For voice-over work, for the right voice, you can't beat a Sennheiser MKH416, although I've never seen one used on the air. A Rode NTG-3 is a good alternative.
Maybe there's something wrong with my SM7, but I don't like it at all. It's not any better than an SM57 to my ears. Then again, I don't like an RCA 77DX or 44BX for radio. I sold mine.
There is a rash of cheap condenser mics with Chinese capsules, and they're pretty impressive for the money. They're not consistent, but my tube Aphex 460 is excellent. It has one of the best built-in pop filters I've seen on a cheap ($200) mic. It also requires a 5-wire cable and connectors.
I have a number of microphones available to me at work and in my personal collection. So here's my two cents:
Heil PR40 blows the socks off the RE-20. It's brighter which I equate with more modern sounding. A sleeper EV mic is the RE-15/16. Thing is that most of them are 15 to20+ years old and need a new element. But a good one sounds excellent.
A lot of people have mentioned the AT2020. There's a slightly upgraded version of that mic, the AT2035 which sounds even better for around 30-40 dollars more. It's my standard voice over mic in the studio. It comes with a real shockmount too.
For years we used AKG 414 microphones in our tracking rooms. I had to put put "front-back" labels on the microphone case because at least once a month someone would come in to track and speak into the wrong side. If you know what they look like you'll understand how that could happen (the mics were set for cardioid pattern of course).
Another sleeper dynamic is the Beyer M-88TG, but like the Shure SM7B, it needs a pre-amp with a lot of clean gain.
Heil PR40 blows the socks off the RE-20. It's brighter which I equate with more modern sounding. A sleeper EV mic is the RE-15/16. Thing is that most of them are 15 to20+ years old and need a new element. But a good one sounds excellent.
A lot of people have mentioned the AT2020. There's a slightly upgraded version of that mic, the AT2035 which sounds even better for around 30-40 dollars more. It's my standard voice over mic in the studio. It comes with a real shockmount too.
For years we used AKG 414 microphones in our tracking rooms. I had to put put "front-back" labels on the microphone case because at least once a month someone would come in to track and speak into the wrong side. If you know what they look like you'll understand how that could happen (the mics were set for cardioid pattern of course).
Another sleeper dynamic is the Beyer M-88TG, but like the Shure SM7B, it needs a pre-amp with a lot of clean gain.
I forgot to mention that you may be able to get some "free" gain for a dynamic mic, such as the RE20, by putting a step-up transformer between the mic and the preamp. One such transformer is a Lundahl LL1530 with a 3:5/1 ratio. I have one sitting here that I have not hooked up yet. Inputs to many consoles are 1K ohm or higher. Many mics are 600 ohms or lower. A step up transformer can provide better matching and even better loading on the microphone.
If the preamp you're trying to use is an old RCA board with 50 ohm inputs, don't waste your time.
If the preamp you're trying to use is an old RCA board with 50 ohm inputs, don't waste your time.
I think one of the reasons the RE-20 is so widely used is that they are indestructible. Well, practically indestructible. I've always kept in mind that jocks will manage to destroy things even if it is unintentional. For doing VO's and the like, though, the RE20 simply requires too much sound pressure to sound good all the time.
That said, we are running Behringer B-1's for on-air and they sound great paired with the DBX's.
Thanks for the heads up on the AT2020. May look at swapping those out as a on-air studio upgrade. One of these days, we'll hopefully be able to actually go all Neumann.
That said, we are running Behringer B-1's for on-air and they sound great paired with the DBX's.
Thanks for the heads up on the AT2020. May look at swapping those out as a on-air studio upgrade. One of these days, we'll hopefully be able to actually go all Neumann.
In the US, RE20 seems to be king. Only in America though. In my own little corner, I use two MD441's. They sound great. Only problem is when there's two guests because the 441 is quite narrow in its pickup so a cardioid or something like that, would make it easier to share the second mic. RE20 would probably be great because it has very little off-axis coloration. Other than that little problem, the 441's sound amazing. And very little room pickup.
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