All user reviews for the Electro-Voice RE20

The Electro-Voice RE20 microphone is more than just a musical accessory to me; it's a true sonic passion. Having had the privilege of working with this gem of technology, I can't help but share my personal experience with you.

This classic cardioid dynamic microphone from Electro-Voice is a globally recognized treasure in the realms of recording and live performances. Utilizing condenser technology, it delivers outstanding performance that goes beyond my wildest expectations.

What truly enamors me is how remarkably the RE20 captures sounds. Its extended frequency response ensures faithful sound reproduction across the entire spectrum. Moreover, its sturdy and robust construction is an undeniable asset, especially when recording in various studios and locations.

One of the standout features of this microphone is its internal pop filter, effectively reducing the proximity effect, and the internal element shock mount, minimizing undesirable external noise. These features significantly contribute to the microphone's performance.

However, the real ace up the RE20's sleeve lies in its versatility. It's not confined to a single type of instrument. It excels in recording a wide range of instruments, from pianos and strings to ensembles, flutes, snares, acoustic and electric guitars, and percussion. Plug it in, apply some compression and EQ, and you'll quickly achieve incredible results.

Now, let's address the cost question. The RE20 isn't the most budget-friendly microphone, with a price tag hovering around $800. Nonetheless, I can unequivocally state that if you have the budget and are seeking an investment that will stand the test of time, the Electro-Voice RE20 Classic Cardioid Dynamic Microphone is well worth considering. It delivers professional-grade quality that rivals the precision and sound capture found in high-end studios.

Having worked with an array of microphones, both dynamic and condenser, I'm truly grateful for the opportunity to immerse myself in the world of the RE20. Its sound quality is exceptional, providing a level of detail and clarity that's simply unmatched.

Cardioid dynamic microphone wide universal membrane but especially vocals, bass amp, guitar, brass trombone, tenor sax, bass clarinet, kick drums, congas, etc.

OVERALL OPINION

I can not remember how long I use it, since there are probably different in my recording studio or live recording. During the sessions, I sometimes change the type of mic on an instrument because it is perhaps not perfectly suited to the situation, even after tests positioning. I think I never got to replace the RE 20 because I think I know a few limitations with all these years! (No battery overhead, HH, cymbals, etc., and still is not sure, it depends on what you want her to)
The RE 20 is for me the perfect microphone in his field as the Neumann U87 or 4038 Coles in theirs.
Good points: Sturdy both electrically and physically. Very versatile and musical. At ease in recording digital. A real quality / price ratio (approx. 450 €)
Very little breath, output level - correct sensitivity.
Bad: To my taste, if he had, long ago they would have been found, in fact I no longer try ...
Some find that the failure is the weight of the machine (737 grams). This is not a Chinese proverb but I would say "All you need good mic, good foot" ... The U87 is too heavy and naturally he dedicates most of his beefy foot park lest he fall because Neumann does not laugh with the price of repairs. For the RE 20 is the same, even though it is tough, you have to think comfort to get the best and offer a REAL foot, certainly not easy today with stews they manufacture. Maybe a little advice: Insist on good feet ... (Curious, I heard that in the movie the visitors but for another reason ..)
Finally, although it remains worthy connected directly to a sound card, he will deliver all its identity loaded with a good preamp (Avalon, API, Neve, Universal Audio)
With a little experience, of course, I would do this choice because in fact there is not ...

The Electro Voice RE20 is a dynamic microphone with a cardioids polar pattern. The casing is made out of steal and you don’t have to worry at all about this microphone getting damaged from a drop/fall. The microphone is built to last a long time and it is great in so many different situations. The RE20 is truly a work horse type of microphone, it can do it all and do it well. You can use this microphone on kick drums, vocals, bass and guitar cabinets. Since we have had this microphone we really have not found something that it is not good at.

OVERALL OPINION

This open circuit dynamic microphone has an impedance of 150 ohms and a frequency response of 45Hz-18 kHz. I love the way this microphone sounds on our Pearl kick, it brings that thump while still keeping the sound punchy. We don’t even have to mess with the EQ at all when we record kicks with the Electro Voice RE20.
Depending on what your main use for this microphone is I do suggest getting a good quality shock mount for it, Electro Voice does make a shock mount for it but you have to pay for it separately and it is not cheap. The shock mount itself will cost you a little over a hundred dollars.
Since you can use this microphone for almost any applications, live or studio; it makes it a must have for any band or group that is a dynamic group recording not only vocals but instruments as well. You will need a microphone that can handle whatever you throw at it and the RE20 is just that. I was not too sold on Electro Voice microphones before we got this one, but since we have been using it I have to respect the company now because this is by far one of the best all around microphones that I have used.

Great Mic for kick drum and broadcast. This was the mic you hear on kick drums for the last three decades and to this day on most all broadcast radio talk shows. When you add compression to an RE 20 you will hear wonderful things from this mic. It has a bump on the low mid so it is great for kicks. Polar Pattern Cardioid is all you get from this mic as for patterns. Broadcast stations all over the world for 30 years have been using this mic for years and again it is the standard mic for broadcast in the world. I have never been to a top radio station that does not use the RE20 for broadcast voice. I love the sound of this mic but it does get a great deal of low mid sound so if you are using it on a kick drum you will have to cut about 220hz a great deal maybe even 15 db. Recently we had a few kick mics and a great deal of time to test some mics for a recent project. I was surprised that I wanted to try the RE20 as I have moved on to other mics in recent years that have caught my attention or that are well priced and that I have heard on YouTube or from recommendations from business associates in the engineering community. I will say that I really enjoyed the A and B testing we did recently. I took a D110 and had it inside the kick drum about three inches away from the beater but placed inside the kick really close. I got the drummer to do three tests one whereby he hit the drum soft the next harder and the last really hard. The D110 had tons of low end but lacked the presence that I desire in a kick drum. I turned to the RE20 and place it at the same point on the kick drum but inside the kick. I had the drummer do the exact same thing regarding the three hits on the kick drum. I was surprised at the presence of the kick drum and it reminded me of the 1980's whereby we would use this kick sound every day and the only mic we had for kick was the RE20. Back then it was the standard for kick mics, like if you listen to the first Van Halen records or Fleetwood Mac you can hear an RE20.

OVERALL OPINION

A must have for broadcast or kick drum or bass amp micing. Can take hot levels and sounds fantastic. Not the best for lead vocals on music though. The Electro-Voice RE20 is a dynamic cardioid microphone so it is limited and you should know that. Like I said it was created specially for recording, broadcast and sometimes live for horns and kick.

It does have a bass enhanced sound so be aware of that when you buy this mic but if you want a great mic for about 400.00 Ebay. GOOD BUY.

Electro-Voice RE20 Classic Cardioid Dynamic Microphone is a recording and live type of microphone that is used world wide.
It uses a condenser technology.

OVERALL OPINION

The thing that I like most about it is how well it captures the sounds, the wide frequency response , and of course the material of what is made that is extremely solid and heavy which I find very importantly in terms of using the mic in random studios and places.

Another great features of this product is that it has an internal pop filter that reduce proximity effect while the internal element shock mount reduces the noise from the external source.

I also must mention the fact that it can be used to record several type of musical instruments:
Pianos, Strings, Ensembles, Flute, Snare , acoustic guitar, electric guitar, and all types of percussion.

Practically, you just plug in and with some compression and eq you almost have the job done, that's how good this mic is, and that's how you can rate the mic by it's use and quality of sound.

However this mic costs around 800$ so it's a more expensive type of mic, but I gotta admit if you have the money and you're searching for something that is gonna last a while you should try
Electro-Voice RE20 Classic Cardioid Dynamic Microphone because it provides that pro quality that you find in expensive studios, basically the precision and capture of the sounds is almost perfect, it has a deep frequency response so no matter what type of voice you have, you're an bass, tenor, alto, countertenor , soprano, high soprano, this mic will capture exactly what you're wanting.

I've tried several dynamic and condenser mic's , I'm really thankful that I had the pleasure to work with this mic on my friend's studio. It sounds great and well-detailed.

The Electrovoice RE 20 is a cardiod dynamic mic thats built like a tank and much more versatile than it's simple reputation as a radio mic. I am a student, musician, writer, and pretty good line dancer residing in beautiful Nashville, TN. I've been a drummer and guitar player for the past 10 years of my life and have began engineering and producing in the past 4. I currently play drums for the band Brookline and you can see me rockin' an Orange County Drum and Percussion or Mapex kit decked out with Zildjian K Hybrids.

I bought this mic at Guitar Center in Nashville about a year back for right around $400. I had used two on my floor toms in a session and fell in love with the sound and knew I had to buy one.

<a href="https://www.guitarcenter.com/">https://www.guitarcenter.com/</a>

Many studio guys write this mic off to fast because it is mainly used at radio stations for broadcast audio because of its great low end response and the fact that it's built like a tank. About a year ago I tracked drums on a session and the engineer threw two of these up on my floor toms and one as a close mic on our guitarist's cab. To me it had a better attack and resonance than the go to MD 421 and outperformed any D112 that's been thrown on my 18' floor.

I don't so much recommend it on a guitar cab as this engineer had done. You loose a lot of air in the spectrum and it picks up much more low end than you probably will want in any rhythm or lead guitar track.

Like I said, this mic is built like a tank. It's a lot like a SM57 or SM58 as far as it's ability to get beat up - will dent the grill but the internals will almost surely be fine!

Bottom Line? Get over your preconceived notions about the RE 20 and buy one for your studio...it's tough, sounds good, and great on your lower frequency instruments.

This review was originally published on http://www.musicgearreview.com

Whereas dynamic microphone as the "Rolls" dynamic microphones.
Suitable for brass, toms, the voice.

OVERALL OPINION

I've had 15 days. I bought it just to save a tnor sax in a jazz band. I have long hsit to the prices in France (over 800 euros). I ended up cracking APRS asking many opinions on Audiofanzine.
Feedback, it's big feet.
I recorded with a Shure SM57 before then with a beta 57A and then with a Beyer. Feedback, I n'tais never satisfied with bass and treble deaf aggressive. With REV20 is really rve with a warm, round, deep bass and treble not garish. In short, no corrections of the EQ and no compression, I found the REAL sound of our sax tnor.
In addition, the microphone is heavy, well finished, how beautiful! The real pro gear.
And finally, I pay 510 euros by buying nine in the Internet Thomman in Germany (you can find the address on Google). I t delivered in 48 hours.
In conclusion, the high-end lives up to its reputable.
Does not hesitate

I use the RE 20 (dynamic mic) recently in the studio. I have tried many.
Guitar amp 3.10
6.10 bass amp
05/10 kick
Floor tom 10/10
trombone 10/10
voice 6.10
These are comparisons against my other classic microphones (D112, SM57, Rode NT2, 421 ...)
This is not a micro versatile. Have one is a luxury. Buy this mic would be a first micro BTIS. But when one loves, one does not count.

OVERALL OPINION

2 months
it is beautiful and great for floor tom and trombone
yes
bad
bought used for 350, I would.

Wide cardioid dynamic microphone membrane.
Particularity to choose between several impdances output: 250 -150 and 50 ohms. I recommend setting 250 Ohms.

OVERALL OPINION

Acquired recently. Possdait before a PL20. This may be possde MODEL greater bandwidth in AIGS.
Micro insensitive. Must be used with a prampli impractical. Little cash pressures given its impressive technology but weak micro shock!
Specially in making brass: 10/10
Bass drum 8 / 10 condition DCAL from the bat.
Baritone or bass voice mle 7 / 10 with a small correction capacitor is much more recommended, but in troubleshooting!

Acquired 250 used with the capsule, foam, and even the transformer XLR new, changed by EV Michigan and all under warranty. Only the cage that is original and in very good state except a few scratches on the paint. What more.

More prcis a D112 and D12 That a stretched BP.
Whereas I like the universal tool for low end and for the pressure. BP's tense impressed.

I think a 2nd acqurir if the opportunity arises Submitted

C is a versatile dynamic mic (kick, sax, voice ...)

OVERALL OPINION

I used the last six months to record any kind of source.
My main use is for the bass drum, this mic is very prcis. It has a very good response curve. Excellent reproduction of transients, very good dynamics. Precise C is without artifice. On a sax c is certainly that it leaves a most "paw", a "color", a signature that is found on both the production. I also used for the leslie, no problem.

J I try some other mics (especially the bass drum), there are a lot of good but that it offers so much of the other applications (for c sax is eyes closed and ...... ears open).
The price is accordingly (and c is not so expensive), it is in the pros may be possible. He won his place for a long time in the "standard".
With this micro there sre aquerri value ...

Any style instuments ...

OVERALL OPINION

I used the last 4 years.
c a micro particle with its very serious and very present 3kHz a bit aggressive but not really annoying.
the only thing that sucks is c it is too heavy of a sudden he fell to the foot of cheap mic.

c kick on really well as live in the studio that he transcribes really the sound of a bass drum, a BDrum use of high quality.

c is the top voice as the sound is very radio.

Distorted guitars, a comparison of c cool ca SM57 sounds more hardcore.

brass light on it sounds c, c all c exellent.

on a bass amp type very well but big ampeg fridge, Swr ...
on small bass amp with guy who can not play because horror cl ca drool even more. better a 421, or 57 DI ...

the price is right, it's been weird c true to both in dynamics.

c microphone that I never sell ...

It is a dynamic microphone reference, originally designed for the spoken voice (radio broadcast), but it may be very suitable for singing and for all other uses.

It has a round and warm with a strong personality, while being accurate extrêmment. We feel it encourages the body of sound while showing some silky frequencies in the lower medium.

It can be very valuable for certain kinds of songs when we want to avoid having too many or too sharp nose.

In fact it is a microphone that seems particularly well suited for digital recording because it avoids adding another layer of gloss and sharp that end up tired ears.

One can also use it to store all kinds of beats with (he is able to withstand high pressures). In this case it may be more neutral = more difficult to distinguish from other microphones. Good experience for recording an electric guitar a little too aggressive in its clear and crunch.

OVERALL OPINION

I could test it for several days.

I tested many other mics before this one, static, dynamic and electret.

Its peculiarity that I liked most is his accuracy, his warmth and the fact that he makes something very nice and not at all aggressive on a digital recorder, while having a real personality. It is a micro 'confidence and pleasure "
The least? hard to say, this mic is perfect for some uses. We have enjoyed a switch to have a lump in the upper midrange, it could be useful in some cases.

The price / quality ratio is extremely good given that this is a very high-end microphone.

I am considering the aquérir.

This is a dynamic microphone that can be used in both live and studio settings, though I admittedly have only used it myself in a studio. I have however, played shows where the sound guys have used it on bass amps, and as far as I could tell it worked great. They are pretty versatile but they are best known as vocal mics. Radio stations have used them for years. I don't know much about that world, but I do know that they are designed for vocal use. They also work well on kick drums, bass amps, and other applications.

OVERALL OPINION

I guess the best quality of this microphone is it's reliability. While it's rarely the best choice in a studio for vocals, it will suffice in most situations. I tend to prefer large diaphragm condenser mics when recording vocals, but I have heard from colleagues that this mic has worked wonders for them. Hearing the results that they achieved, I'd have to agree. I guess I simply didn't have the kind of sessions that they did. I personally prefer what it can do with drums and bass. The mic is great for bass amps, and was my go-to mic for quite a while, until I expanded my collection and started working at a studio where they had more mics. Kick drums also sound pretty great with this, especially when used in tandem with an AKG D112. I once tried it as an overhead mic just for fun, and surprisingly, it worked rather well. It gave the drums a fatter, thicker sound that made them sound sort of vintage. This might not be what you're looking for most of the time, but it's still pretty cool.

Something I particularly like about this mic is it's ability to reduce noise and bleed. I once recorded drums and electric guitar in the same room, and this mic was hands down the best at reducing bleed from the guitar (I used it on kick drum). I've also had good luck with it not picking up extraneous sounds in vocal booths (some mics pick up annoying clicks and people moving in the booth, this is usually not the issue with this microphone). It's very durable, too, as many people have said, although I would still be careful with it, simply because it could potentially never break on you, unlike most gear in general.

Given how inexpensive it is, any beginning engineer or anyone with a low budget should make this one of their first investments. The usefulness and quality of sound belie it's cheap price. I would highly recommend it to anybody who doesn't already have it.