From an unworthy plastic box with disfunctional closures, it can be seen - the RE20. And it does not come without the individual frequency response. After all, the micro has a amusing nickname - which is probably incompatible with the guidelines of the experience reports and therefore, I am well-behaved - amused by a physical analogy from the animal kingdom. (OK - "Elephant" may at least still say, or?). On this background, it was, of course, doubly disappointing, as the very heavy microphone, barely attached to the stand, self-employed slowly but surely bred into a hanging position. However, the problem was quickly solved by using the large screwdriver and tightening the screw on the bracket.
What is the "variable-d" principle for reducing the proximity effect? In my experience: much. Apart from the last two centimeters, the RE20 really allows a big change of the distance without noticeable change of the bass frequency response. This alone can be reason to use these microphones (keywords: Sänger & Hampelmann). However, this advantage comes when one comes to the idea of ??holding the micro in the hand, since one then almost inevitably obscures the sound guidance slots. So: The thing belongs firmly on a decent stand mounted.
The RE-20 is surprisingly neutral for a dynamic micro; But of course it still has a clear sound stamp, which I would perhaps characterize as a "chattering" at medium to high frequencies.
In the course of time some applications have crystallized out, in which I will use the RE20 again: Waldhorn, Sopransaxophon, bassoon, rocking singing. Due to the strongly pronounced directional characteristics, I was much further away from the source, than with a good large-diaphragm probes or the (possibly unfavorable) proportion of the room is significantly lower at the same distance.
The RE-20 delivers low levels; But in practice also not soo much less than a SM57. A sensitive and low-noise preamp is still a must. A dbx386 alone was definitely not to be used - however, he proved with an upstream "ribbon booster" (self-construction after sound & recording) almost ideal (low noise, good sound). Operation with an MX8000 was possible and also low noise; However, it required maximum gain and produced a little satisfactory sound (resonant centers, nothing above, nothing below).
The pre-processing of the "ribbon booster" did not bring any further improvement in noise, but the sound improved enormously - all deficits were repaired. - On the other hand, the low sensitivity of the microphones is more blessing than curse when the RE-20 A kick or in the funnel of a tuba disappears (danger of overdriving the desk preamp less).
As a conclusion, I can recommend the RE-20 to anyone who needs a distance-independent sound in the close range, does not have a top recording room but still wants to record woodwinds at a reasonable distance, a mic for brass or kick needs and - apart from the last two cases - has a very low-noise preamplifier (-129 dB) and a lot of gain (> 60 dB).
So for a few weeks now I have been faced with this: Robust appearance, powerful, and also something for the optical senses. But what does "lies" here, HANG. And this is unmistakably in the sound box of my sound studios (in New-Denglisch also called "Vocal-Booth"), enclosed in the original microphone holder.
Yes, how does it sound now? Great! Large, full-bodied, even with a very short distance always transparent and without grudges. I have tested it so far only with singing, but according to tonal historiography but also one of the microphones for blower in general and trumpet in the very special. And it also feels so in the kick and the contrabass sauwohl, which the Tonküche everything in the future will also still test.
The RE20 would also be a good choice for those who want to record under rather unfavorable conditions and still want the fleshy sound of a large diaphragm microphone. With a capacitor type, you get a lot of background noise on the hard drive, if it is not really quiet in the room, the RE20 dampens much.
The microphone is delivered with a robust microphone holder, for voice or vocal recordings I would however very recommend the original spider, which can dampen vibrations very properly. A universal spider is very unsatisfactory with the special design of the RE20, and the original is really a real eye-catcher.
Very important: The microphone can withstand high sound pressure, but does not have a very high output level, so it is absolutely necessary to use a high-quality microphone preamplifier. Low-bruntary representatives of this genre acknowledge high gain settings with a clear noise. In my studio the RE20 hangs on a TL-Audio M4 mixer, which pre-amplifier of the upper class has installed and thus this microphone simply SUPERB!
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